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T/k N» fanfc 


Issued Monthly by 


“The World 9 $ Record Shop 99 



MARCH, 1953 

By mail to any addrats 
$1 par yaar 

T HIS is the 241st issue of this little bulletin. 

With it we begin the twenty'first volume. 
Many of our readers have been with us since 
Vol. 1, No. 1 (March 1933) and quite a few 
of them have kept a complete file of all issues. 
We know this because occasionally a copy goes 
astray in the mail and they hasten to write for 
another copy stating that their files are com' 
plete except for that one number. We hope 
that the present volume will prove as interest' 
ing to these oldtimers as the previous ones. 

During the last few months we have been 
advertising The New Records in a number 
of leading newspapers throughout the country 
including The J^ew Tor\ Times , Chicago Tri' 
bune, Los Angeles Times, Boston Herald, Phila ' 
delphia Inquirer, Detroit Free Press, Cleveland 
Press, Minneapolis Star Tribune and 'Washing > 
ton Times Herald. Hundreds of new subscrib' 
ers have been secured by this means and we 
take this opportunity of welcoming them with 
the hope that they will continue to find our 
little bulletin of value. 

Last month we included a renewal blank 
with each copy mailed, and so many renewals 
were received that it has been impossible for 
us to check our mailing list. We are, therefore, 
carrying over all of our subscribers, whether 
they renewed or not. We cannot continue this 
practice beyond this month, so if you have not 
as yet sent in your renewal, you should do so 
at once in order that you will not miss any 


We are continually receiving requests for 
back copies of The New Records. Most of 
the issues published during the last twenty 
years are available. The price is 10c each. A 
file of all of the available issues (at least 140 
copies) is $5. These prices are postpaid within 


Sorry, Wrong dumber. Agnes Moorehead, with 
supporting cast. DIO" disc (*D'DL'6022) $3.35. 
TNR Sept. ’47). 

R. Strauss: Der Rosen\avalier (highlights). Tiana 
Lemnitz (soprano), Kurt Bohme (bass), Saxon 
State Orchestra — Kempe. IT 2" disc (*UR'URLP' 
7062) $5.95. (TNR June ’51). 

Mozart: Die Entfuhrung aus dem Serail (highlights). 
Wilma Lipp (soprano), Walther Ludwig (tenor), 
et al, with Chorus of Vienna State Opera and 
Vienna Philharmonic Orchestra — Krips. IT 2" 

disc (*L'LL'458) $5.95. (TNR Dec. '50). 

Gounod: Faust (highlights). Geori'Boue (soprano), 
Georges Nore (tenor), Roger Bourdin (baritone), 
Ernest Frank (bass). Royal Philharmonic Orches' 
tra and Chorus — Beecham. M2" disc (*V'LCT 
1100) $5.72. (TNR May '49). 

Verdi: Aida (highlights). Maria Caniglia (soprano), 
Ebe Stignani (mezzo'Sporano), Beniamino Gigli 
(tenor), Gino Bechi (baritone), Italo Tajo (bass), 
Chorus and Orchestra of the Opera House (Rome) 
— Serafin. M2" disc (*V'LCTT101) $5.72. 

(TNR Mar. ’49). 

Puccini: Tosca (highlights). Maria Caniglia (so* 
prano), Beniamo Gigli (tenor), Armando Borgioli 
(baritone). Chorus and Orchestra of the Royal 
Opera House (Rome) — Fabritiis. IT 2" disc (*V' 
LCTT102) $5.72. (TNR Jan. ’40). 

Mendelssohn: Concerto in E minor. Op. 64. One 
side, and Mozart: Concerto 7^o. 4 in D, K. 218. 
Fritz Kreisler (violin) with the London Philhar' 
monic Orchestra. 1T2" disc (*V'LCTT117) 
$5.72. (TNR Dec. ’35 and Jan. ’40). 

Popular Overtures and Dances. Columbia Broad' 
casting Symphony — Barlow. IT 2" disc (*C'RL' 
3030) $3.08. (Formerly single discs: see TNR 
Vol. 8, No. 11; Vol. 9, Nos. 3, 7, 9; Vol. 10, 
No. 3). r~ 


Below are listed several records that devotees of 
high fidelity phonographs have found to make quite 
thrilling demonstrations of their wide range equip' 
ment. The musical value of these discs may or may 
not be great, and no attempt has been made to make 


The Nw RfcWj 


the list all-inclusive; however, all are extended range 
recordings which will bring out the best in a “hi'fi” 
system : 

Dancers of Bali. Gamelan Orchestra from the Vib 
lage of Pliatan, Bali, directed by Anak Agung Gde 
Mandera. M2" disc (*C'ML'4618) $5.45. (TNR 
Feb. ’53). 

The Great Barrelhouse Piano. Played on a nickel' 
odeon. MO" disc (*SOT'1035) $4. (TNR Feb. 

The Pipe Organ. (Vols. I & II). Michael Cheshire, 
playing the Wurlitzer organ of the Richmond 
(Va.) Mosque. 2'10" discs (*SOT'1050/1) $4 
each. (TNR Feb. '53). 

Selected Works of Varese. Various instrumental 
groups conducted by Frederick Waldman. M2" 
disc (*EMS'401) $5.95. (TNR Feb. '51). 

Stravinsky: Petrouchka. L'Orchestre de la Suisse 
Romande conducted by Ernest Ansermet. M2" 
disc (*L'LL'130) $5.95. (TNR Feb. '50). 

Respighi: The Pines of Rome. One side, and 
Respighi: The Fountains of Rome. Orchestra of 
the Vienna State Opera conducted by Argeo 
Quadri. M2" disc (*WEST'WL'5167) $5.95. 
TNR Mar. '53). 

Saint-Saens: Symphony No. 3 in C minor, Op. 78. 

Philharmonic'Symphony Orchestra of New York 
conducted by Charles Miinch, with Eduard Nies' 
Berger (organ). M2" disc (*C'ML'4120) $5.45. 
(TNR Aug. ’48). 

Rimsky -Korsakov: Scheherazade, Op. 35. Minne' 
apolis Symphony Orchestra conducted by Antal 
Dorati. M2" disc (*ME'MG' 50009) $5.95. 
(TNR Oct. ’52). 

Tschaikovsky: Symphony No. 5 in E minor, Op. 

64. Minneapolis Symphony Orchestra conducted 
by Antal Dorati. M2" disc (*ME'MG'50008) 
$5.95. (TNR Oct. ’52). 

Tschaikovsky: Symphony No. 6 in B minor, Op. 

74. (“Pathetique”). Philadelphia Orchestra con' 
ducted by Eugene Ormandy. M2" disc (*C'MD 
4544) $5.45. (TNR Nov. ’52). 


Our studio has been flooded with releases of over' 
tures, waltzes and the like recently released by sev' 
eral manufacturers. Due to severe space limitations 
we cannot consider each issue separately; but be' 
cause we feel that many of our readers would like 
to know of the release of these extremely popular 
items, we are listing them below. 

Ponchielli: La Gioconda — Dance of the Hours. 
And Ponchielli: La Gioconda — Overture. Or' 
chestra of La Scala Opera conducted by Armando 
La Rosa Parodi. 1'7" disc (0UR'UREP'l) 

Verdi: Forza del Destino — Overture. One side, and 
Donizetti: Don Pasquale — Overture. Orchestra 
of La Scala Opera conducted by Armando La 
Rosa Parodi. 1*7" disc (0UR'UREP'2) $1.58. 

Auber: Fra Diavolo — Overture. One side, and 
Rossini: II Barbiere di Siviglia — Overture. Or' 
chestras conducted by Karl Elmendorff and Arthur 
Rother. 1*7" disc (0UR'UREP'3) $1.58. 

Strauss: 1001 Nights — Overture. One side, and 
Strauss: 1001 Nights — Tenor Waltz. Herbert 
Ernst Groh (tenor) with Chorus and Orchestra 
of Radio Berlin conducted by Otto Dobrindt. 1*7" 
disc (dUR'UREP'4) $1.58. 

Strauss: Wiener Blut — Overture. One side, and 
Strauss: Wiener Blut — Waltz and Duet. Traute' 
Richter (soprano) and Sebastian Hauser (tenor) 
with Chorus and Orchestra of the Berlin Civic 
Opera conducted by Hans Lenzer. 1'7" disc 
(dUR'UREP'5) $1.58. 

Moussorgsky: Night on Bald Mountain. Berlin 

Philharmonic Orchestra conducted by Leopold 
Ludwig. 1'7" disc (0UR'UREP'6) $1.58. 

Prokofiev: Love for Three Oranges — Suite. Sym' 
phony Orchestra of Radio Berlin conducted by 
Arthur Rother. 1*7" disc (0UR'UREP'7) $1.58. 

Tchaikovsky: Swan Lake — Waltzes (Acts I & II). 
Orchestra of the National Theatre (Prague) con' 
ducted by Jaroslav Krombholc. 1*7" disc (0UR' 
UREP'8) $1.58. 

Berlioz: Roman Carnival Overture. L'Orchestre de 
l'Association des Concerts Lamoureux conducted 
by Jean Martinon. 1'7" disc (0UR'UREP'9) 

Falla: Three-Cornered Hat — 3 Dances. L’Orchestre 
de l’Opera'Comique (Paris) conducted by Jean 
Martinon. 1'7" disc (0UR'UREP'11) $1.58. 

Gounod: Faust — Ballet Music. L’Orchestre du 
Theatre National de l’Opera de Paris conducted 
by George Sebastian. 1*7" disc (0UR'UREP'12) 

Prokofiev: Russian Overture, Op. 72. Berlin Phil' 
harmonic Orchestra conducted by Hans Steinkopf. 
1*7" disc (0UR'UREP'16) $1.58. 

Lehar: Merry Widow — Overture. One side, and 
Lehar: Gold and Silver Waltz. Zurich Tonhalle 
Orchestra conducted by Franz Lehar. 1*10" disc 
(*L'LD'9003) $2.95. 

Offenbach: Orpheus in Hades — Overture. One side, 
and Offenbach: La Belle Helene — Overture. Lon' 
don Philharmonic Orchestra conducted by Jean 
Martinon. M0" disc (*L'LD'9004) $2.95. 

Suppe: Light Cavalry — Overture. One side, and 
Suppe: Morning, Noon and Night in Vienna — 
Overture. London Philharmonic Orchestra con' 
ducted by Georg Solti. 1*10" disc (*L'LD'9005) 


♦ Indicates LP 8»J$ rpm. 
4 indicates 45 rpm. 


The New R ecords 



Mahler: Symphony No. 5 in C-sharp minor. Three 
sides, and Mahler: Symphony No. 10 in F sharp 
— Adagio. Orchestra of the Vienna State Opera 
conducted by Hermann Scherchen. 2' 12" discs in 
album (*WEST-WAL-207) $11.90. 

Last month Columbia reissued on LP the Mahler 
Fifth under Bruno Walter (*C'SL'l7l), which in- 
eludes as a coupling on the fourth side eight songs 
sung by Desi Halban. The present set under Scher- 
chen has more than a five years newer recording 
technique. The interpretive approach of the corn 
ductors is quite a bit different. Walter has a more 
comprehensive view of the whole canvas and does 
not give the sudden effects that Scherchen does. 
Scherchen is more dramatic and generally more lucid. 
The net result would seem to be a better survey by 
Walter, but Scherchen is more meticulous. The score 
hangs together better and is not as overblown under 
Walter; it often has more momentary interest under 
Scherchen. We cannot say which would appeal more 
to the average music lover, because we doubt whether 
most of them will be drawn to the work. The Mahler* 
ites will have their own ideas about who does more 
justice to this score. Mahlerites will find the coupling 
in the Scherchen set highly interesting. It is the 
Adagio of his 10th symphony, the first movement, at 
least the one which Mahler designated as the first at 
the time of his death. It is the only one written out 
fully in the form of an orchestral score. This music 
is interesting because it is a completely new departure 
from Mahler’s traditional style. 

The Fifth Symphony is purely symphonic, unlike 
the three preceding ones which contain vocal sections. 
It consists of five movements which, however, form 
essentially three sections. The central section around 
which the work is anchored is the third movement, 
a very extensive Scherzo, which might best be 
described as a study in various Landler rhythms. This 
large-scale work uses a huge orchestral body in 
individual clusters of sound in which the brass domi- 
nates heavily. Westminster has recorded this work 
splendidly, being among their best issues to date. 


Spohr: Symphony No. 3 in C minor, Op. 78. 

Symphony Orchestra of Radio Frankfurt con- 
ducted by Georg Schlemm. 1-10" disc (*UR- 
URLP-5008) $4.75. 

One of Spohr’s symphonies has finally found its 
way to records, and many will now hear a Spohr 
symphony for the first time. Our grandfathers heard 
his symphonies frequently for they were performed 
rather regularly until shortly after the turn of the 
century. But Spohr is now rather passe and con- 
sidered too sentimental. It is true that his thematic 
matter was often not worthy of the skill used to 
develop it. He was one of the founders of the 
Romantic period in music and his influence on its 

development was of the greatest importance. Noted 
as a violin virtuoso and as a conductor, Spohr will 
never have a prominent place as a composer. We 
must think of him as one who contributed to the 
general scheme of composition as it has developed, 
but not as one of the major contributors of any era. 

The thematic material of the Symphony 7^o. 3 
is no gold mine, but as usual with Spohr, it is worked 
over quite nicely, and there is a directness and 
transparency which are pleasing. It is easy to listen 
to, although it leaves no strong impression; it is 
not over-wrought nor bombastic — in fact, it could 
stand more fire and thunder in spots. It is just a 
pleasant piece of music by a nice old gentleman. The 
form of the work is conventional, four movements, 
the weakest of which we think is the Scherzo be- 
cause it is too heavy for a good contrasting scherzo. 
Georg Schlemm and his orchestra provide a care- 
fully prepared and convincing account of the score 
played with conviction as well as polish. Reproduc- 
tion is good, with a little of Urania’s string sizzle 
in evidence at times. S. 

Schubert: Symphony No. 4 in C minor (“Tragic”). 
Mozarteum Orchestra of Salzburg conducted by 
Wolfgang Freilassing. 1-12" disc (*ORFEO LP- 
10) $5.95. 

Schubert — arr. Weingartner: Symphony No. 7 

in E. Vienna State Opera Orchestra conducted by 
Franz Litschauer. 1-10" disc (*VAN-VRS-427) 

Schubert: Symphony No. 9 in C (“The Great”) 
(B. & H. No. 7). Three sides, and Haydn: 
Symphony No. 88 in G. Berlin Philharmonic 
Orchestra conducted by Wilhelm Furtwangler. 
2-12" discs in album (*D-DX-119) $11.70. 
Composed in Schubert’s nineteenth year, there 
is little in the music to justify the composer’s own 
subtitle “Tragic.” No jury of a hundred musicians 
would guess the nickname on a hearing of the music. 
The present recording of the Fourth brings out the 
dash and vigor of this work with unflagging zeal. 
It has not quite the solidity of Klemperer’s reading 
(*VX-PL-7860), but it moves forward with con- 
viction and is well played by the Mozarteum Or- 
chestra. The reproduction is as bright and shrill as 
we care to hear. The first side of our disc was not 
pressed deeply enough (judging from appearances) 
and tracked impossibly bad, but the second side was 
fine. Better check your copy if you decide to get 

The Schubert Seventh Symphony , in E major, is 
truly his seventh. It was written in sketch form in 
the year 1821. In 1934 Felix Weingartner recon- 
structed the score, leaving ^he second and third 
movements untouched, and “tightening up” the 
first and last (i.e., shortening them a little). When 
you hear this work you can believe that it fits well 
between the Fourth, Fifth, Sixth and the “Unfin- 
ished.” It has more of the earlier symphonies than 




The New R ecords 

of those which followed, but it unmistakably heralds 
the later and greater works. In itself it is a beautiful 
work which is worth some performances — more 
than as a novelty or curiosity. The performance 
offered here is a superb one and very well recorded. 
This disc is well worth investigation. 

The recording of the Schubert "Hinth is one of 
the finest things Furtwangler has on discs, which 
is saying a lot, for some of his recordings are among 
the greatest. Any of Furtwangler's tendencies to 
tamper, tinker, or otherwise be capricious with the 
score have been entirely done away with in this 
magnificent reading! Here the conductor is clearly 
at the service of the composer, and we have an 
interpretation that must rank with the greatest of 
this work. This reading has not the bite and wallop 
of Toscanini, nor quite the searing intensity of 
Walter, but it has a fusion of everything good 
and just in a performance of this work that gives it 
a wonderful balance. The reproduction is full and 
rich, making this a set to be highly recommended. 
The Haydn 88th gets model treatment also to com' 
plete this well nigh perfect album, which features 
as well orchestral playing of the highest order by the 
renowned Berlin Philharmonic. S. 

First Chair. Philadelphia Orchestra conducted by 

Eugene Ormandy. 1-1 2" disc (*OML'4629) 


CONTENTS: Clarke: Trumpet Voluntary in D 
(Samuel Krauss, trumpet); Griffes: Poem for Flute 
and Orchestra (William Kincaid, flute); Handel: 
Concerto No. 3 in G minor for Oboe and Strings 
(Marcel Tabuteau, oboe); Phillips: Concert Piece 
for Bassoon and Strings (Sol Schoenbach, bassoon); 
Weber: Adagio and Rondo for Violoncello and 
Orchestra (Lome Monroe, violoncello); Chabrier: 
Larghetto for Horn and Orchestra (Mason Jones, 
French horn); Beethoven: Romance T^o. 2 in F for 
Violin and Orchestra , Op. SO (Jacob Krachmalnick, 
violin); Weber: Concertino for Clarinet and Or' 
chestra (Anthony Gigliotti, clarinet). 

An orchestra which is generally acknowledged as 
the greatest in the world, in fact, the greatest the 
world has ever known, is necessarily made up of 
some fine instrumentalists. The Philadelphia Orches' 
tra contains many members who are great soloists, 
but the first chair men who are the leaders of their 
respective sections and the orchestral “soloists" are 
among the great virtuosi of our day. Flutist William 
Kincaid and oboist Marcel Tabuteau are among the 
best known performers of their instruments. Con' 
certmaster Jacob Krachmalnick and 'cellist Lome 
Monroe are young artists who have recently joined 
the orchestra; but their proficiency as demonstrated 
on this disc gives evidence of what sterling perform' 
ers they are. All of the artists who perform in this 
concert turn in performances that would be hard 
to better. We could not single out any one for 
special mention; all are superb. Ormandy's accom' 

paniments add the final touch which makes this disc 
truly outstanding, and one that belongs in every 
library of fine records. This record is sold for the 
benefit of The Philadelphia Orchestra Pension Fund. 

While the musical selections offered are display 
pieces for the solo instruments, the choice of this 
music is so good that it does not result in a monot' 
onous series of technically tricky pieces of question' 
able merit. Every selection is a masterwork in its 
form and there are a number of schools represented 
from Clarke and Handel through contemporary 
styles. Such a choice as the Beethoven Romance, 
rather than a fireworks display for violinistic prow' 
ess, contributes to the effectiveness and musical value 
of this program. We would mention the exception' 
ally fine reproduction and microphone placement 
which gives each instrument a faithful character and 
good perspective with the accompaniment. S. 

Respighi: Fountains of Rome. One side, and 
Respighi: Pines of Rome. Orchestra of the Vienna 
State Opera conducted by Argeo Quadri. IT 2" 
disc (*WEST'WL'5167) $5.95. 

Ottorino Respighi (1879T936) was indisputably 
one of the greatest masters of the orchestra since 
Berlioz. Richard Strauss is generally considered to 
be Berlioz' successor; but, for this reviewer he lacked 
the temperament, the volatility necessary to achieve 
greatness in this field. 

The two tone poems recorded here are a direct 
result of Respighi's love affair with the Eternal City, 
an affair that lasted twenty'three years. The Foun' 
tains of Rome consists of a musical description and 
impression of four fountains: those of the Villa 
Giulia, the Trevi, the Triton and those at the Villa 
Medici. It is a very poetic work, sensuous, colorful, 
evocative and always musically interesting. Without 
resorting to direct imitation Respighi penned pas' 
sages that suggest the passing of cattle at dawn, 
iridescent bubbles at the Triton fountain, Neptune's 
triumphal procession at noon (Trevi) and deep 
melancholy at dusk near the Villa Medici. The piece 
is masterful, both as to music and as to sound. 

I Pini di Roma, again in four sections, was written 
eight years after the Fountains, in 1924. The pines 
treated musically are those at the Villa Borghese, 
near a catacomb, the Gianicolo and along the Appian 
Way. Much the same treatment is used here as in 
the fountains but this is a more robust work; there 
is less poetry. There are several interesting passages, 
notably the use of an early Christian hymn tune and 
the unusual practice of scoring for the phonograph; 
Respighi calls for a record of the song of a night' 
ingale in the third section (Pines of the Gianicolo). 

Both scores call for large orchestras and in I Pini 
di Roma six buccine are employed in addition to the 
usual forces. For the curious it may be pointed out 
that a buccine is an imitation of an old type Roman 
wind instrument. All this has been recorded in brih 
liant fashion by Westminster engineers. The use of 

• to dl eaten LP 88^ rpm. 
0 Indicate! 45 rpm. 




"The N ew Records 


variable pitch (of the record grooves) has enabled 
them to produce a record that is, beyond a doubt, 
the finest yet made. This is largely due to the higher 
volume level possible and the result is startling in 
its realism. Quadri’s direction is imaginative and 
sensitive. The Vienna State Opera Orchestra sounds 
better than this reviewer can ever recall. All in all 
an astonishing record, worth owning on all counts: 
artistically, musically and technically. W. 

Rachmaninoff: Symphonic Dances, Op. 45. 

Rochester Philharmonic Orchestra conducted by 
)( Erich Leinsdorf. M2" disc (*C'ML-4621) $5.45. 
This is a recording of prime importance. Here 
we have a splendid performance of Rachmaninoff’s 
last composition. Symphonic Dances, Op. 45 dates 
from 1940 and was first played by the Philadelphia 
Orchestra under Ormandy on 3 January 1941. Since 
that time it has appeared on the programs of many 
important orchestras both here and abroad. It was 
dedicated to Ormandy and the Philadelphia Or' 

This attractive work is not really a series of dances 
but rather a composition in three movements in 
which the spirit of the dance abounds throughout. 
The first movement is marked Non allegro; the 
second with its wait* theme is an Andante con moto; 
and the Finale, after a slow start, becomes an Allegro 
vivace. It is a work of wide variety and one that 
immediately gains the attention of the listener and 
holds his interest to the last measure. You may not 
care for it, but you certainly cannot say that it is 
banal or dull. 

Early Italian Music. Leopold Stokowski and his 
Symphony Orchestra with Brass Choir and A 
Cappella Chorus. 4'7" discs in box (0V'WDM' 
1721) $5.14. M2" disc (*V'LM'1721) $5.72. 
CONTENTS: Concerto Grosso in D minor 
(Vivaldi); Tu Mancavi a T ormentarmi, Crudelissima 
Speranza (Cesti); Nocturne, Marche (Lully); Gag' 
liardi (Frescobaldi) ; A doramus Te, O bone Jesu 
(Palestrina); Canzon Quarti Toni a 15, In Ecclesiis 
Benedicite Domino (Gabrieli). 

The purists may say that the music on this LP 
disc is more Stokowski than Early Italian and we 
are not going to argue the point. We are going to 
say that we have not heard a record in a long, long 
time that has contained such a wealth of highly 
enjoyable music — music that is always in the best 
of taste — music with enough variety that it never 
becomes monotonous. After each selection, one 
awaits the next piece with high anticipation and is 
sorry when the record side comes to an end. There 
is no question but that Stokowski has spent endless 
hours of research in selecting the compositions for 
this record, nor that in his orchestrations and ar' 
rangements he has hit a new high in musical crafts' 
manship of this character. We urge the musically 
discerning not to miss this very delightful disc. 

Debussy: Prelude a PApres-midi d’uii Faune. 
One side, and Dukas: L’Apprenti Sorcier. Phila' 
delphia Orchestra conducted by Eugene Ormandy. 
MO* disc (*C'AAL'26) $2.85. 

Two selections that have always been popular with 
Philadelphia Orchestra fans are included on this 
modestly priced disc — it should go to the head of 
the best sellers list in a hurry. 


Thomson: Stabat Mater. (Sung in French). Jennie 
Tourel (mezzo'soprano) with the New Music 
String Quartet. And Thomson: Capital, Capitals. 
(Sung in English). Joseph Crawford, Clyde S. 
Turner (tenors); Joseph James (baritone); Wib 
liam C. Smith (bass); and Virgil Thomson 
(piano). One side, and Harrison: Suite for 
Violoncello and Harp. Seymour Barab (violon' 
cello) and Lucille Lawrence (harp). And Harri- 
son: Suite No. 2 for String Quartet. New Music 
String Quartet. M2" disc (*C'ML'4491) $5.45. 
Copland: Sextet for String Quartet, Clarinet and 
Piano (1937). David Oppenheim (clarinet), 
Leonid Hambro (piano) and the Juilliard String 
Quartet. One side, and Kohs: Chamber Con- 
certo for Viola and String Nonet (1949). 
Ferenc Molnar (viola) and string nonet. M2" 
disc (*C'ML'4492) $5.45. 

Piston: Sonatina for Violin and Harpsichord. 
Alexander Schneider (violin) and Ralph Kirk' 
patrick (harpsichord). One side, and Cage: 
String Quartet (1950). New Music String Quar' 
tet. M2" disc (*C'ML'4495) $5.45. 

Columbia proposes to release a batch of record' 
ings each year of American music; this group is part 
of the first release. A committee consisting of Virgil 
Thomson, Aaron Copland, Henry Cowell, William 
Schuman, and Goddard Lieberson has selected the 
music to be recorded and they have sought to avoid 
duplication of works already available to the public 
in recorded form. Chamber music has been chosen 
as the present repertory of the project, because that 
is the field that has hitherto received the least atten' 
tion from recording companies. They have made 
available a remarkable group of scores which will 
add to a sadly deficient section of the recorded 
music of our country. Whether or not the public 
will acquire these records remains to be seen, but 
we would predict a very modest commercial success 
for this venture. 

If the music at hand does nothing more, it prob' 
ably mirrors only too faithfully the times in which 
we live. You can supply your own definition of what 
this portrays, but it would come under the general 
heading of changing, uncertain, and somewhat 
troubled times. 

We cannot discuss all of these works at length. 
One thumbnail, or in'a'phrase, opinion of them runs 
something like this: Copland is good, worthy, and 

• indicate! LP 88 */j rpm. 
0 indicate! 45 rpm. 




The N ew TTecords 


interesting music; Piston is all of that and even 
more pleasing to the ear; Kohs has something to say 
and does it convincingly; Harrison is clever and 
pleasing to the ear in a studied and modern way; 
Thomson (who generally appeals to us very much) 
is off the beam in this pair of peculiar works; and 
Cage is in another world entirely — we could not 
make head nor tail out of this — maybe they played 
it with the score upside down. 

Whatever the opinions of the music, Columbia 
is to be congratulated and heartily praised for its 
effort on behalf of American music. The performances 
are all excellent, and faithful to the composers' wishes 
we are told, and the reproduction is of the best. 



Beethoven: Concerto No. 2 in B-flat, Op. 19. 

Wilhelm Backhaus (piano) with the Vienna Phil' 

harmonic Orchestra conducted by Clemens Krauss. 
MO" disc (*L'LS'630) $4.95. 

Beethoven: Concerto No. 5 in E-flat, Op. 73 

("Emperor"). Walter Gieseking (piano) with 
the Philharmonia Orchestra conducted by Herbert 
van Karajan. I'll" disc (*C'ML'4623) $5.45. 
Beethoven: Concerto No. 5 in E-flat, Op. 73 

("Emperor"). Denis Matthews (piano) with the 
Philharmonia Orchestra conducted by Walter 
Siisskind. M2" disc (*C'RL'3037) $3.08. 

The LP lists are rather light in entries on the 
Beethoven Second Concerto, which is really the first 
one the master wrote, although it was published 
after the First (and after a revision). Backhaus and 
Krauss are a strong team, and when it comes to 
their doing Beethoven, the results are apt to be 
first rate. In this work they are excellent and produce 
what is easily the best of the recorded versions. 
They manage to keep this work in the proper 
framework. It is a welhproportioned and beautifully 
executed performance, with fine reproduction. 

Columbia is in the odd position of competing 
with itself with the latest pair of entries in the 
“ Emperor ” listing, which now contains nearly a 
dozen versions of widely varying merit. Columbia 
offers the same program notes and the same accom' 
panying orchestra, but two different types of repro' 
duction as well as different soloists in this dual re' 
lease. An over'all impression is that Gieseking 
enjoys brighter, probably newer, reproduction, while 
Matthews has typical English recording of the full' 
blown variety. Matthews is by no means a poor 
second when it comes to interpretation and per' 
formance. Gieseking is more authoritative, but 
Matthews conceives the work on a larger scale. 
These are both good performances, but neither is 
better than HorowitZ'Reiner (*V'LM'1718), Serkin' 
Ormandy (*C'ML'4373), or Curzon'Szell (*L'LL' 
114), among those with modern recording; or 
Schnabel of an earlier era (*V'LCT'101 5). There 

are so many from which to make a choice that in 
most cases, one will pick his favorite artist. We 
recommend Horowitz, Serkin, or Curzon as the best 
of the many available. S. 

Mozart: Concerto No. 10 in E-flat, K. 365. 

Amparo and Jose Iturbi (pianos) with RCA Vic' 
tor Symphony Orchestra conducted by Jose Iturbi. 
Four sides, and Mozart: Concerto No. 20 in D 
minor, K. 466. Jose Iturbi (piano) conducting 
the RCA Victor Symphony Orchestra. 4'7" discs 
in box (0V'WDM'1717) $5.14. M2" disc 

(*V'LM'1717) $5.72. 

Both of these concertos are remakes of previous 
versions which the Iturbis made for Victor some 
years ago. This time we have the RCA Victor 
Orchestra as the accompanying instrument, with 
Jose keyboard'conducting for both works. Iturbi has 
always favored Mozart and has acquired something 
of a reputation for performing the more popular 
Mozart works. His performances are usually marked 
by fine finger dexterity, clear, clean playing with a 
cool, bright manner. There is little caressing senti' 
ment and plenty of percussive tone for Mozart. It 
is a type of playing which appeals to some folks, 
but which many Mozartians do not find attractive. 
Serkin, Schnabel, Kempff, and Lili Krauss all have 
worthy recordings which present Mozart's 20th 
Concerto in a different manner. Our preference for 
a recording of this lovely work is the Schnabel disc 
(*V'LHMV'1012), which is Mozart playing at its 

The two'piano concerto has two other versions in 
the catalogs, an older one by Vronsky and Babin 
and a more recent one by Gianoli and Badura'Skoda 
with the Vienna orchestra under Scherchen (*WEST* 
WL'5095). The Westminster disc will probably fill 
the bill nicely for those who desire this work. It is 
coupled with another two'piano concerto of Mozart. 
Unless the coupling of the present disc appeals 
strongly to you, we would not recommend it as a 
best buy of the music offered. If you wish to "kill 
two birds with one stone" you will get accurate 
performances and good reproduction from the 
Iturbis. S. 


Harvard Glee Club Recital. Harvard Glee Club 
conducted by G. Wallace Woodworth. MO" 
disc (^CAMBRIDGE CRC'101) $4. 
CONTENTS: Supplicationes (Palestrina); Ius' 
torum animae (Byrd); O Maria, Diana Stella (15th 
cent. Laude); Tibi laus, tibi gloria (Lassus); M ise' 
rere mei (Victoria); Confitemini Domino (Pales' 
trina); A doramus te (Anerio). 

This diversified offering of Renaissance choral 
music should provide devotees of this school with 
one of their most valued discs; it should also incite 
the interest of those who heretofore have found 
pre'baroque music cold and unexciting. The special 

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The N ew R ecords 

attraction of the recording, perhaps a unique one, 
(beyond its excellent performance) rests with the 
almost revelatory authenticity it achieves through 
the use of a highly resonant recording hall com' 
parable to that of the stone churches of the Renais' 
sance. The rich texture of the music benefits from 
the warm, colorfully resonant sound; and the total 
effect sustains an aural opulence that we do not 
think has ever before been heard on records. 
Schiitz: Passion According to St. Matthew (com' 
plete). (Sung in German). Max Meili (tenor) 
with supporting soloists and Combined Berlin 
Chamber Choirs conducted by Helmut Koch. 
Three sides, and Schiitz: Symphonia sacra No. 9 
(“Frohlocket mit Handen) and Schiitz: Sym- 
phonia sacra No. 10 (“Lobet den Herrn”). Max 
Meili (tenor) with strings and organ accompani' 
ment. V 12" discs in album (*BG'BG'519/20) 

Handel: Israel in Egypt (complete). (Sung in Ger' 
man). Soloists, combined Berlin Chamber Choirs 
and Berlin Symphony Orchestra conducted by 
Helmut Koch. 2'12" discs in album (*BG'BG' 
521/2) $11.90. 

Heinrich Schiitz (1585T672), as has been noted 
before in these columns, was one of the great musi' 
cians of all time. The work recorded here, the 
Passion According to St. Matthew, is a tremendously 
moving and sincere setting of the last days of Christ 
on earth. It lacks some of the overwhelming drama 
that Bach gave to his version of the story, but it 
makes up for this lack (if lack it really is) by its 
almost incredible use of limited forces. There is no 
instrumental accompaniment, the effects being 
achieved by the human voice alone, and it is to the 
credit of Herr Koch and his forces that the per' 
formance is convincing from beginning to end. Max 
Meili, as the Evangelist, sings the recitative passages 
with a wealth of expression, and the soloists, par' 
ticularly Herbert Rungenhagen as Jesus, Bernard 
Michaelis as Judas and Horst Wilhelm as Peter, are 
uniformly excellent. The pathos, the almost un' 
earthly quality that Schiitz poured into the music, 
are realized in Helmut Koch’s sensitive and scholarly 
direction. No one interested in choral music or 
music of the baroque period should be without this 
sterling performance and recording. Comprehensive 
notes and the German'English text are welcome 

Very different, yet cast in the same heroic mold, 
is Bach Guild’s recording of Handel’s epic setting 
of the biblical story of Israel in Egypt. As befits so 
different a theme, here is a work that has a large 
instrumental accompaniment and massive choruses. 
Essentially the same forces are used, and Helmut 
Koch demonstrates his sound musicianship by cap' 
ably conducting the work in Handelian fashion. 
The wonderful “plague” choruses that tell of the 
“waters turning into blood,” of the “flies, lice and 

locusts,” of hailstones and fire, and finally of the 
smiting of the first'born of Egypt are strikingly 
realized. They are quite unique — there is nothing 
in music like them. The soloists are usually ade' 
quate, sometimes fine, especially the men. The 
choral passages, of which there are many, are exe' 
cuted with precision and feeling. 

Both works have been previously recorded but 
these new versions are technically and artistically 
superior. W. 

Howe: Choruses. The Howard University Choir 
directed by Warner Lawson. One side, and Howe: 
Songs for Soprano. Katharine Hansel accom' 
panied by Theodore Schaefer (piano). And 
Howe: Songs for Baritone. Harold Ronk (bari' 
tone) accompanied by Theodore Schaefer (piano), 
l'l 2" disc (*WCFM'LP'13) $5.95. 

CONTENTS: Mein Herz; O ma Douleur ; Frag > 
ment; O Proserpina; When I Died in Berners Street 
(soprano). Lullaby for a Foresters Child; The Rag 
Pic\er; Innisfree; To the Unknown Soldier (bari' 
tone). Williamsburg Sunday; Music When Soft 
Voices Die; Chain Gang Song; The Horseman; 
Cavaliers; Song of Ruth (chorus). 

Vaughan Williams: (5) Mystical Songs. Harold 
Ronk (baritone) with the Chancel Choir of the 
National Presbyterian Church directed by Theo' 
dore Schaefer (organ). One side, and Buxtehude: 
Jesu, Joy and Treasure. Katharine Hansel (so' 
prano), George Barritt (tenor), John Tompkins 
(bass) with the Chancel Choir of the National 
Presbyterian Church directed by Theodore Schae' 
fer (organ). And Buxtehude: Choral Prelude 
(“Wie schon leuchtet der Morgenstern”). Theo' 
dore Schaefer (organ). M2" disc (*DEN'DR' 
2) $5.95. 

Two of the smaller (but better) producers of 
LP discs release, this month, recordings of more than 
passing interest. The first is a collection of the 
vocal and choral works of the American composer, 
Mary Howe. This issue supplements a previous re' 
lease of her chamber music and thus makes avail' 
able to the record buying public a fine cross'section 
of this contemporary American composer's work. 
The songs, nine in number, range from Persian 
texts, through Shakespeare, Baudelaire, Yeats and 
Elinor Wylie, while texts for the choral pieces in' 
elude settings of Shelly, de la Mare and Masefield. 
The songs are sung by Katherine Howard (a first 
class lyric soprano) and Howard Ronk (an above 
average baritone). The Howard University Choir 
sings the choruses with vigor, authority and tonal 
accuracy. Musically, Mary Howe, is modern with' 
out being obtrusive about if. She can spin a fine 
melody and has been able to achieve what few song 
writers are able to do: to compose a setting that 
fits the text like a glove. The choral works are also 
distinctive, both melodically and structurally. This 



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march T he N?ze/ R ecords 1953 

is definitely a disc for the cognescenti as well as for 
the collector of Americana. 

Den Recordings, with their second release, issues 
another record of considerable musical merit. This 
disc couples two composers, of completely different 
eras, who are linked, in this instance, by the moods 
projected by their respective scores. The Five Mys' 
tical Songs are based on poems by George Herbert 
( 1 593T633) and are titled Easter ; I got me flowers; 
Love bade me welcome; The Call; and Antiphon. 
Herbert was a parish priest of the Church of Eng' 
land, and the poems are, as might be expected, re' 
ligious in nature. The settings are extremely effec' 
tive with their use of soloist and chorus and the 
superb organ accompaniments lend a medieval at' 
mosphere that is very much in character. The Bux' 
tehude Cantata is a magnificent work, excellently 
sung and superbly recorded. As a dividend, the 
Choral Prelude played by Theodore Schaefer is a 
masterpiece. A fine disc, primarily for the collector 
who specializes in the unusual, but worthy of in' 
vestigation by all music lovers. W. 

Gesualdo: Italian Madrigals. One side, and Monte- 
verdi: Italian Madrigals. The Randolph Singers 
conducted by David Randolph. 1 ' 1 2" disc 
( * WEST'WL' 5171) $5.95. 

Motets for Christmas and Other Festivities. The 
Welch Chorale directed by James B. Welch. 1'12" 
disc (*LYR'LL'35) $5.92. 

CONTENTS: O quam gloriosum (Victoria); 
Hosanna to the Son of David (Gibbons); Hodie 
Christus natus est (Sweelinck); Hodie Christus natus 
est (Palestrina); Rorate caeli desuper (Gregorian); 
Rorate caeli desuper (Palestrina); Gloria in excelsis 
(Weelkes); Dies sanctificatus (Byrd); Dies sanctifi' 
catus (Palestrina); In splendoribus (Gregorian); 
Resonet in laudibus (Handl); Resonet in laudibus 
(Gregorian); O magnum mysterium (Victoria); O 
magnum mysterium (Byrd). 

The pair of discs listed above are devoted to the 
music of a bygone age and serve to prove, if such 
proof were necessary, how unchanging and how 
lasting great art can be. Gesualdo and Monteverdi, 
the former very poorly represented on records until 
this release, are two of the great Italian madrigalists. 
The Randolph Singers, who do a sterling job with 
both composers, sing hitherto unrecorded madrigals 
in as near the original form and manner as possible. 
In addition, the works were selected for their orig' 
inality and are notable for their daring and “strange' 
ness.'” The madrigals recorded here are often dis' 
sonant, abounding in weird chromatic passages that 
sound modern even to contemporary ears. An inter' 
esting example is quoted in the accompanying notes, 
comparing a portion of GesualdoV (1611) Moro 
lasso al mio dulol and a passage from Die 'Wal\iire 
(1885). There are, in all, eight madrigals by Gesu' 
aldo and seven by Monteverdi. Considerable pains 

were taken to simulate 17th century conditions 
insofar as acoustics were concerned, i.e. to convey 
the impression of a large hall without having exces' 
sive echo that would tend to obscure the vocal line. 
Scholarly notes and complete texts plus the out' 
standingly original music make this disc one that be' 
longs in every library of serious music. 

Lyrichord and the Welch Chorale submit some 
fourteen Motets, including four instances of different 
settings of the same words. Thus, one may hear and 
compare Sweelinck’s version of the Hodie Christus 
natus est with that of Palestrina, and Victoria’s O 
Magnum mysterium with William Byrd. Such com' 
parisons are both instructive and fascinating and 
could only be accomplished through the medium of 
records. Needless to say, the music is all of the 
utmost grandeur and is imbued with a deep religious 
feeling that is almost, if not entirely, without parallel 
in art. The singing of the Chorale is uniformly good 
and the approach is both orthodox and intelligent. 
Excellent recording is the order of the day. W. 
Bach: Mass in B minor. (Sung in Latin). Soloists, 

chorus and Rhineland Symphony Orchestra con' 

ducted by Alfred Federer. 3' 12" discs in box 
(*REGENT MG'6000) $5.67. 

This, the third complete recording of Bach’s mon' 
umental Mass in B Minor, costs only about one'third 
as much as either of the two previous recordings. 
This is the most important fact about the release 
and it certainly colors, to a considerable extent, the 
criticism that follows. 

The performance by the Rhineland Symphony 
and an unnamed chorus is neither very good nor dis' 
tressingly bad. It falls in between and could be 
described, at its highest level, as complacent. There 
are also passages that sound dispirited, as though the 
music got the best of all concerned. The soloists 
Hedrich (soprano), Brunner (alto), Bochner 
(tenor) and Kuntz (bass) are run'of'the'mill vocal' 
ists that are usually adequate. Now, despite all this, 
the set is not a bad value. Bach’s glorious music 
shines through the sometimes shoddy performance 
like “the body of Copheta’s beggar maid through 
her rags.’’ It is not fair to compare this recording 
with Westminster’s (Scherchen) magnificent job or 
with RCA Victor’s (Shaw) less spectacular one be' 
cause of the aforementioned price difference. 

The records, from a technical angle, are service' 
able and easy to listen to; this reviewer, to put it 
negatively, has heard worse on discs costing three 
times as much. The surfaces, while somewhat noisier 
than the more expensive LP’s, are not objectionable. 

The reader will probably have noticed a reluc' 
tance on the part of the writer to condemn the set 
out of hand and, at the same time, being somewhat 
cagey about recommending it. Here is a case where 
the prospective buyer is not only advised to hear 
the set before purchasing, he is strongly urged to do 
so — he may be surprised, he may be disappointed — 

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The Neze; R ecords 


it all depends on one’s standards. Monetary con' 
siderations aside, the Westminster is still, by all 
odds, the best. W. 

Prokofiev: Oratorio, Op. 124 (“On Guard for 
Peace’’). Zara Dolokhanova (mezzo'soprano) ; E. 
Talanov (boy alto); combined choirs and State 
Orchestra of the U. S. S. R. conducted by Samuel 
Samossond. M2" disc (*VAN'VRS'6003) $5.95. 
On Guard for Peace is another of those State 
commissioned or State inspired grandiose composi' 
tions that Soviet composers turn out on occasion. 
This time it is Serge Prokofiev and while On Guard 
for Peace is a far better work musically than Shos' 
takovich’s Song of the Forests (which it superficially 
resembles) it is still a far cry from the Prokofiev 
of the two violin concertos, the Love for Three 
Oranges and the Romeo and Juliet music. 

This work was written in 1950/51 and celebrates 
the “grim days of World War II . . . Stalingrad . . . 
the victory ... the joy of creative labor . . . and 
(Prokofiev’s) firm belief that war shall not be, 
that the nations of the world will safeguard peace, 
save civilization, our children, our future.’’ Now, 
no one in his right mind would quarrel with these 
ideas, but in view of Russia’s actions in the United 
Nations assembly, the ideologies and thoughts ex' 
pressed here have a spurious ring. 

Musically the piece is typical of the composer. 
There are melodies, acrid and pungent harmonies, 
and the overall effect is one of considerable power. 
The participating artists are adequate, the chorus 
and orchestra sing and play with vim and apparent 
conviction. In an oratorio such as this, however, it 
is virtually impossible to separate it from its political 
implications, and from its genesis the work is tainted 
to this writers ears. The idea of “trade supplanting 
bullets and bombs” under communism is as ridicu' 
lous as trying to achieve peace by arming to the 

The recording is spotty, fair in some places and 
definitely poor in others. The record, obviously, in' 
sofar as this reviewer is concerned, has little to rec' 
ommend it. Partisans of the composer are advised 
to hear it before buying. W. 

Verdi: Un Ballo in Maschera (complete). (Sung in 
Italian). Ethel Semser (soprano); Joachim Kerol 
(tenor); Marie'Therese Cahn (contralto); Jean 
Borthayre (baritone); Lucien Mans, Jacques Lin' 
solas (bassos); Paris Philharmonic Chorus and 
L’Orchestre Radio'Symphonique de Paris de la 
Radiodiffusion Fran^aise conducted by Rene Leib' 
owitz. 3' 1 2" discs in album (*REN'SX'207) 

Verdi’s Un Ballo in Maschera, considered old' 
fashioned in 1888 by no less a personage than Ber' 

nard Shaw, shows, in this recording, surprising mod' 
ern qualities and a natural vitality. Certainly, as 
has been noted before in these columns, a mediocre 
and tasteless performance (of which there are all 
too many on records these days) can devitalize the 
finest opera, but when one gets a performance that 
has above average singing and an espirit de corps 
that is top'notch, then even a work that might be 
considered old'fashioned (such as Un Ballo in Mas' 
chera) emerges in all its melodramatic glory. 

Renaissance has cast the opera well, having ob' 
tained the services of a fine dramatic soprano in the 
person of Ethel Semser for Amelia. Without such 
a singer Un Ballo in Maschera would be a sad affair. 
Mme. Semser proves a tower of strength in the 
glorious aria M a dalV arido stela divulas and in the 
equally taxing Morro, ma prima in grazie. Her voice 
is a large one, and her high notes are thrilling indeed 
while her lower register takes on an engaging con' 
tralto quality. This, in addition to her considerable 
acting ability makes her performance a compelling 
one. The tenor is a newcomer to records, one Joa' 

chim Kerol, whose large voice is capable of much 

coloring and expression. In the lower register it 
takes on baritone timbre and, if some of the high 

notes are a little pinched they are usually accurate. 

His work in the famous quintet E scherzo od e 
follia is superb, and the other concerted numbers, 
particularly the second act duet and in the opening 
scene, show him to be a singing actor of the first 
quality. His Ricardo is notable for its sincerity and 
understanding. Renato is sung by one of the finest 
of present day baritones, Jean Borthayre. Here is a 
singer in the grand manner, a French baritone who 
is neither nasal nor half tenor — a singer who can 
grasp a foreign style and sing it as a native. Com' 
parisons are dangerous, but the name of Journet 
kept recurring to this reviewer. 

Others in the cast are equally competent but lack 
of space precludes more than a brief mention of 
Mme. Cahn’s impressive Ulrica, Mile. Valdarnini’s 
excellent Oscar and the fine singing of Mans and 
Linsolas as the conspirators. Rene Leibowitz’ direc' 
tion is magical — he breathes life into the score and 
makes it real. Fine recording and a readable libretto 
round out one of the finest Verdi offerings on 
records. W. 

Mozart: Cosi fan Tuttc (complete). (Sung in Itah 
ian). Ina Souez, Luise Helletsgruber, Irene Eis' 
inger (sopranos); Heddle Nash (tenor); Willi 
Domgraf'Fassbander, John Brownlee (baritones); 
Orchestra and Chorus of the Glyndebourne Opera 
Festival conducted by Fritz Busch. 10'7" discs 
in box (0V'WCT'61O4) $12.58. 3'12" discs in 
album (*V'LCT'6104)^,$17.16. 

This is the third of the fabulous Glyndebourne 
Festival recordings of Mozart operas. Like its prede' 
cessors, it is on an extraordinarily high plane artis' 
tically and vocally, making other recordings and per' 



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The New Records 


formances of the same music seem woefully inade- 
quate. In this Cosi fan Tutte one hears a sextette of 
superb Mozart singers, thoroughly rehearsed, placed 
in an ideal setting and recorded with excellent 

Briefly, Mmes. Souez and Helletsgruber have no 
peers as the wayward ladies; and the music, which is 
admittedly difficult, is sung with a sense of style, 
a purity and agility that beggars description. Coup- 
led with this is a sense of the theatre and a knowl- 
edge of characterization that makes the sometimes 
absurd (by modern standards only) libretto very 
real. Heddle Nash was a very happy choice for 
Ferrando and he sings like an angel. The late Willi 
Domgraf-Fassbander had one of the finest baritone 
voices of his era — smooth, colorful and exquisitely 
produced. Of John Brownlee, one can only say 
“Bravo!” He is a real artist, and everything he does, 
including this magnificent Don Alfonso, is distin- 
guished by a grand manner — aristocratic to the 
nth degree. 

Fritz Busch, whose untimely death robbed music 
of one of its finest Mozart conductors, welds his 
forces into an harmonious ensemble that won’t be 
equalled for many years, if ever. 

The transfer to LP discs is deftly accomplished, 
and this issue of Cosi fan Tutte’s effervescent music 
eliminates all competition. Here is a version of the 
opera that will answer all arguments as to its essen- 
tial greatness and should be in every record collec- 
tion. Excellent notes by Walter Legge and a fine 
libretto are included. W. 

Ponchielli: La Gioconda (complete). (Sung in 
Italian). Anita Corridori (soprano); Miriam Pira- 
zinni and Rina Cavallari (contraltos); Giuseppe 
Campora (tenor); Anselmo Colzani (baritone); 
Fernando Corena (bass); Orchestra and Chorus 
of La Scala Opera Company (Milan) conducted 
by Armando la Rosa Parodi. 4-12" discs in album 
(*UR-URLP-229) $23.80. 

Ponchielli: La Gioconda (complete). (Sung in 
Italian). Maria Meneghini Callas (soprano); 
Fedora Barbieri and Maria Amadini (contraltos); 
Gianni Poggi (tenor); Paolo Silveri (baritone); 
Giulio Neri (bass); Cetra Chorus and Orchestra 
of Radio Italiana (Turin) conducted by Antonio 
Votto. 3-12" discs in album (*CE-LP-1241 ) 

For sheer blood and thunder it would be difficult 
to imagine anything more violent, both musically 
and dramatically, than Ponchielli’s only surviving 
opera La Gioconda. It is one of the few “grand” 
operas holding the stage today and the reasons for 
its success are not hard to find. There are flowing 
melodies, black villains, two heroines both fighting 
over the hero, inquisitions, burning boats, canals, 
parties — one could go on almost indefinitely — and 
all are good theatre. 

These two recorded performances offer a nice 

study in contrasts. One, the Cetra, features a strong 
(on paper) cast, the other a relatively unknown 
group of singers. It is the latter performance, how- 
ever, that emerges as the most listenable and, in 
the long run, the most artistic. In the title role of 
the Cetra recording is the much heralded Maria 
Callas. Perhaps the build-up has been too great, for 
this reviewer found her performance far too melo- 
dramatic, her high notes and her low voice throaty 
in the extreme. It is a characterization more suitable 
to Hollywood than to the operatic stage. As Bernard 
Shaw once wrote of another singer “aided by youth 
(she) screamed her way through the part.” On the 
other hand, Urania’s Gioconda, Anita Corridori, 
gives a musicianly delineation of the unhappy street 
singer that wears much better. Vocally Maria Callas 
is far more gifted, but Mme. Corridori is by far the 
better artist. The same general remarks hold true 
for Poggi vs. Campora. The latter, despite a throaty 
voice production, sings a much finer Enzo than his 
counterpart who forces for his high notes and 
wobbles on sustained high passages. The two Barna- 
bas, Silveri and Colzani, follow the same pattern 
as the others. The former bellows and suffers from 
a noticeable vibrato. Colzani, who was only a fair 
Don Carlo in Urania’s La Forza del Destino, emerges 
as a top-flight Barnaba. Fedora Barbieri and Miriam 
Pirazinni are both good with the former having 
more vocal opulance. Corena shades Neri as Alvise 
although both are excellent. The two conductors are 
about equal, with this reviewer favoring Parodi be- 
cause he seems able to keep his singers in line. 
Urania has the better recording, technically. 

Since the Urania set is priced higher than the 
Cetra (four records as against three) they have 
arranged that a “bonus” record be supplied to 
equalize the costs. With the purchase of the Urania 
set one receives, packed inside the album, a coupon 
which entitles the owner to select any of the Urania 
records listed on the reverse side of the coupon as 
a “bonus.” The dealer will accept the coupon as 
payment for the record selected, and thus, theoret- 
ically, the purchaser will not be penalized for paying 
the higher price. W. 

Leoncavallo: I Pagliacci (complete). (Sung in 
Italian). Iva Pacetti (soprano) and Beniamino 
Gigli (tenor) with Chorus and Orchestra of La 
Scala Opera Company (Milan) conducted by 
Franco Ghione. Fifteen sides, and Gigli Operatic 
Recital. Beniamino Gigli (tenor) with orchestra. 
9-7" discs in box (0V-WCT-6O1O) $11.44. 2-12" 
discs in album (*V-LCT-6010) $11.44. 
Leoncavallo’s operatic thriller has been success- 
fully transferred to LP discs by RCA Victor by util- 
izing their fine recording, vintage 1935, that featured 
Beniamino Gigli as the ill-starred and vengeful 
Canio. Nearly twenty years have elapsed since this 
performance was recorded; yet it still not only 
sounds good, it packs a wallop that is missing in other 
more recent recordings. This is the more surprising 

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PAGE 10 


The Nm Records 


when one considers that Gigli is not usually con- 
sidered at his best in heroic tenor roles. Neverthe- 
less, his Canio is a first-rate job. His fellow artists, 
the late Mario Basiola and Iva Pacetti, as Tonio and 
Nedda, also turn in performances far above the ordi- 
nary that rightly place the presentation in the 
“Treasury" class. Franco Ghione’s direction is such 
that all the drama and passion of the score are 
brought out without its once becoming unreal or 
vulgar — no mean feat, incidentally. 

The present pressing has been arranged to fit on 
three sides, leaving room for one of the finest divi- 
dends imaginable — three arias by Gigli and a duet 
wherein he is joined by Dusolina Giannini. The 
duet, from “Cavalleria Rusticana" (Tu qui, Sari' 
tuzza), is superbly sung by both artists. Chief inter- 
est centers on the three arias, however. They are 
the fabulous recordings made in the late Twenties 
or early Thirties of Cielo e mar from “La Gioconda," 
M’appari from “Martha" and O paradiso from 
“L’Africana." To anyone who will be hearing them 
for the first time, the outpouring of golden sound 
will be well-nigh unbelievable. W. 

R. Strauss: Der Rosenkavalier (abridged). (Sung 
in German). Lotte Lehmann (soprano); Maria 
Olszewska (mezzo-soprano); Victor Madin (bari- 
tone); Richard Mayr (bass); Chorus of the Vienna 
State Opera and Vienna Philharmonic Orchestra 
conducted by Robert Heger. 9-7" discs in box 
(0V-WCT-6OO5) $10.90. 2-12" discs in album 

(*V-LCT-6005) $11.44. 

This legendary recording of Strauss' Der Rosen' 
\avalier makes a most successful and welcome reap- 
pearance on two LP discs. It is abridged, of course, 
but the abridgement has been ingeniously effected 
with the result, as one commentator tersely puts it 
“while only about half the extremely long score 
is recorded here, there are few excisions of really 
important material." This is both true and, at the 
same time, a very acute comment on Strauss' ten- 
dency to pad his scores. The major cut is one of 
sixty pages in Act 3 covering the farce played on 
Ochs, the entrance of the Police, Faninal, etc. 

The cast is the finest imaginable. Lotte Lehmann 
has been considered, and rightly so, as the finest 
interpreter of the Marschallin. It is preserved here 
in all its glory. Richard Mayr was Strauss' choice 
for Ochs but was unable to create the role due to 
prior commitments. His performance here demon- 
strates the fact that he had no peers in the role. 
Olszewska's Octavian is a thing of beauty — utterly 
charming. Elisabeth Schumann as Sophie is girlish, 
ingenious and perfectly cast. Others in the cast are 
of high calibre, and Robert Heger’s direction is au- 

The original recording took place in the early 
1930's (released in this country in 1934, reviewed 
in TNR Mar. ’34) and, for all its age, sounds very 
good indeed. This Rosen\avalier has no competition 

despite the existance of two complete LP versions. 
There is an air about it, a feeling of well being, 
that is lacking in the others. 

No libretto is supplied, but the booklet furnished 
outlines the plot, shows the omissions, and includes 
a fine article on the opera by Lotte Lehmann. W. 

A Tribute to Lotte Lehmann. Lotte Lehmann (so- 
prano) with piano accompaniment. 4-7" discs in 
box (0V-WCT-11O8) $5.14. 1-12" disc (*V- 

LCT-1108) $5.72. 

CONTENTS: Die V erschweigung, An Chloe 
(Mozart); Ungeduld, Im Abendrot, Der W egweiser, 
Die Krdhe, Tauschung, Mut, Die 7<[ebensonnen, Der 
Lindenbaum, Die Kartenlegerin, Alte Laute, WaldeS' 
gesprach (Schubert); Du Bist wie eine Blume, Fruh' 
lingsnacht (Schumann); Therese, M eine liebe is grun, 
Der Tod das ist die Kuble l^acht (Brahms); Fur 
Musi\, Gute Klacht (Franz). 

It seems almost incredible to this reviewer that 
Lotte Lehmann should have reached the “tribute" 
stage. To be sure, she really deserves the accolade — 
what worries this corner is the passage of time! 
These selections were made in the period 1935-40 
and, at the risk of seeming trite, it does seem only 
yesterday. Now Mme. Lehmann is enjoying a richly 
deserved retirement — and yet, how calmly one ac- 
cepts the miracle that enables us to hear her musi- 
cianly performances of the magnificent lieder re- 
issued on this fascinating record. 

Chief interest centers around the wonderful sing- 
ing (singing, as we have had occasion to point out 
before, is more than singing the notes correctly, it 
is more than beautiful vocalizing) of the songs from 
Die Winterreise. There are six of them, each ex- 
quisitely realized and projected with sure artistry and 
perfect expression. The real heart-break in Der 
Wegweiser, the bleakness of Die Krdhe and the deso- 
lation inherent in Der 7\ [ebensonnen are presented 
in a manner that justifies the use of a phrase, often 
loosely applied, that of “immortal" performances. 

Three songs by Brahms and a pair each by Mozart, 
Schumann and Wolf, plus five more Schubert lieder 
complete a disc that is unique. Each of them is pol- 
ished like a jewel and leaves one with an impression 
that will last. This is accomplished through the 
medium of Mme. Lehmann’s sincerity and essentially 
human approach to the music. She gets at the 
essence of the song — each performance is a true re- 
creation of both the poet’s and the composer’s in- 

It is a pity that RCA Victor did not see fit to 
include a leaflet giving the translation and text of 
the songs; it would hav^-rost very little and would 
have added considerably to the listener's enjoyment 
and appreciation. Vincent Sheean’s essay is excel- 
lent. The reproduction, when one admits the tech- 
nical limitations of 193 5-40, is quite good. W. 



indicates I<P 33^ rpm 
0 indicates 45 rpm. 


The N ew R ecords 


Schlusnus Sings (Vol. 3). Heinrich Schlusnus (bari- 
tone) accompanied by Sebastian Peschko (piano). 
M2" disc (*D-DL-9622) $5.85. 

CONTENTS: An die Leyer, Lied eines Schiffers 
an die Dios\uren (Schubert); T^achtgang, Freund' 
liche Vission (R. Strauss); Der W achtelschlag, An- 
den\en (Beethoven); Von ewiger Liebe, Der Gang 
zum Liebchen, Am Sonntag Morgen, Feldeinsam\eit, 
Die M ainacht (Brahms); Fussreise, Auch hleine 
Dinge (Wolf). 

Schlusnus Sings (Vol. 4). Heinrich Schlusnus (bari- 
tone) with piano accompaniments. 1-12" disc 
(*D-DL-9623) $5.85. 

CONTENTS: Der Wanderer, Wobin ?, Der 
Musensohn (Schubert); Winterliebe, Traum durch 
die Dammerung, Ich trage meine Minne, Z ueignung 
(R. Strauss); Wanderlied (Schumann); Aus der 
Jugendzeit (Radecke); Am Rhein (Humperdinck); 
Die Uhr, Tom der Reimer (Loewe). 

Muzio Song Recital. Claudia Muzio (soprano) with 
orchestral accompaniments. 1-12" disc (*C-ML- 
4634) $5.45. 

CONTENTS: Se tu mami (Pergolesi); Spirate 
pur spirate, O del mio amato ben (Donaudy); Umbra 
di nube, Ave Maria (Refice); La ninna nanna della 
Vergine (Reger); Beau soir (Debussy); Bonjour 
Suzon, Les filles de Cadiz (Delibes); Cest mon ami 

The success of the two LP discs (Vols. I and II) 
(*D-DL-9620/l ) issued in December 1952 contain- 
ing recordings by the great lieder singer Heinrich 
Schlusnus has probably prompted Decca to hurry 
along Vols. Ill and IV. They are now available and 
it would seem that all that is necessary is to say 
that they rate fully with the earlier releases. . . . We 
are glad to announce that Columbia has transferred 
some recordings of the almost legendary Claudia 
Muzio to a 12-inch LP record. Miss Muzio made 
these recordings in 1935 just about a year before* her 
untimely death. Here is an example of an operatic 
diva of first rank who was also an excellent singer 
of songs. The present disc definitely proves that 

Schubert: Die schone Mullerin, Op. 25. (Sung in 
German). Walther Ludwig (tenor) accompanied 
by Michael Raucheisen (piano). 1-12" disc (*D- 
DL-9648) $5.85. 

Schubert: Schwanengesang. (Sung in German). 
Petre Munteanu (tenor) accompanied by Franz 
Holetschek (piano). 1-12" disc (*WEST-WL- 
5165) $5.95. 

Two Schubert “song cycles” one real, the other 
contrived, are issued this month. Schubert’s Die 
schone Mullerin is making its third appearance on 
LP with this Decca release; previous recordings have 
been made by Singher and Schiotz. Walter Ludwig 
and his accompanist, Michael Raucheisen, do a very 
fine job indeed with the music. Herr Ludwig sings 

in an agreeable tenor and also with a fine understand- 
ing of both music and text (very necessary this, for 
they are very closely interwoven). The performance 
is notable, also, for the excellent phrasing and capital 
choice of tempi throughout. The songs are taken at 
a leisurely pace that emphasizes their lyric romantic- 
ism. It is a highly commendable presentation superior 
to both previously issued recordings. The drawbacks 
are two in number, neither musical, however. First, 
no texts are supplied although the songs are anno- 
tated, and second, more than usual surface noise was 
evident in the review copy. 

The Schwanengesang is a group of songs that 
some suppose Schubert intended publishing as a unit 
but died before the project was completed. The 
publisher, Diabelli, gathered together the manu- 
scripts and pinned the dreadful title Schwanenge' 
sang on them. These songs, then, are sung on the 
Westminster disc by a young Roumanian tenor, 
Petre Munteanu. Somehow the affair does not come 
off. Munteanu has an odd voice (on this record, 
in all events) that changes color throughout its 
range. His pianissimo singing is very nice; but 
when he opens up, his intonation becomes faulty, 
the voice takes on a harsh quality, almost “white,” 
that is definitely unpleasant. In addition to this, 
such songs as Der Doppelganger, Die Stadt and 
Auftenhalt are beyond him, and they misfire com- 
pletely. The very intimate recording (Munteanu’s 
voice seems about six inches from one’s ears) is not 
calculated to cover any defects in its production. 
Franz Holetschek’s accompaniments are well con- 
sidered and deftly accomplished. Texts and copious 
notes are furnished. \y\ 

Songs of Beethoven and Schubert. Elena Nikolaidi 

(contralto) accompanied by Jan Behr (piano). 

1-12" disc (*C-ML-4628) $5.45. 

CONTENTS: (6) Sacred Songs, Op. 48; Bitten; 
Die Liebe des Hdchsten; Vom Tode; Die Ehre Gottes 
aus der Tiatur; Gottes Macht und Vorsehung; Buss' 
lied; An die Feme geliebte, Op. 98 (Beethoven). 
Fischerweise, Op. 96, No. 4; Hacht und Trdume, 
Op. 43, No. 2; Auf dem Wasser zu singen, Op. 72; 
Im Abendroth; Die junge Honne, Op. 43, No. 1; 
Die Forelle, Op. 32 (Schubert). 

Elena Nikolaidi was born near Athens and made 
her professional debut with the State Orchestra of 
that city under Mitropoulos. While studying in 
Vienna she came to the attention of Bruno Walter 
who immediately engaged the young singer for a 
number of performances with the Vienna State 
Opera. She made her American debut at Town Hall 
(New York) in 1949 and received the acclaim of the 
critics. Her debut with the Metropolitan Opera as 
Amneris in Aida in 1951 was most successful and 
established Miss Nikolaidi as one of the great artists 
of the present era. 

Music lovers will doubtless be interested in her 
record released this month. It contains some of 

* Indicates LP 83 % rpm. 
0 Indicates 45 rpm. 


PAGE 12 



The Records 

Beethoven and Schubert's loveliest songs. As you 
listen to them, we are sure that you will agree that 
Miss Nikolaidi is a lieder singer of high rank. 

Sullivan: H. M. S. Pinafore. Twelve sides, and 
Sullivan: Trial by Jury. Soloists, Chorus and 
Orchestra of the D’Oyly Carte Opera Company 
under the direction of Sir Rupert D’Oyly Carte. 
9-7" discs in box (0V-WCT-6OO8) $11.44. 2-12" 
discs in album (*V-LCT-6008) $11.44. 

Sullivan: The Mikado. Soloists, Chorus and Orches- 
tra of the D’Oyly Carte Opera Company under 
the direction of Sir Rupert D’Oyly Carte. 9-7" 
discs in box (0V-WCT-6OO9) $11.44 2.12" discs 
in box (*V-LCT-6009) $11.44. (TNR Dec. ’36). 
At long last RCA Victor has begun to re-issue 
the D’Oyly Carte versions of the merry Gilbert and 
Sullivan operettas; the carping between the camp 
of those who prefer the London ffrr versions and 
those who stick to the older ones will now cease. 

When one considers that the original issues of 
H. M. S. Pinafore and Trial by Jury ante-dates The 
New Records, one must marvel at the job that RCA 
Victor has done in presenting this issue on modern 
LP records; the reproduction is definitely in the 
“good” category, albeit far below “hi-fi” standards. 
The Mi\ado was reviewed in our December 1936 
issue, as indicated in the heading above. 

Mozart: Sonata in F, K. 533, with Rondo, K. 494. 
One side, and Mozart: Rondo in D, K. 485 and 
Mozart: Adagio in B minor, K. 540 and 
Mozart: Fantasy and Fugue in C, K. 394. Paul 
Badura-Skoda, playing a piano from the Kunsthis- 
torischen Museum (Vienna), built by Anton 
Walter (c. 1785). 1-12" disc (*WEST-WL- 

5153) $5.95. 

Mozart: Sonata in F, K. 533, with Rondo, K. 494. 
One side, and Mozart: Rondo in D, K. 485 and 
Mozart: Adagio in B minor, K. 540 and 
Mozart: Fantasy and Fugue in C, K. 394. Paul 
Badura-Skoda (piano). 1-12" disc (*WEST-WL- 

5154) $5.95. 

Here is an unusual pair of LP discs. On each of 
them the brilliant young pianist, Paul Badura-Skoda, 
has recorded the same Mozart selections. On the 
first disc Badura-Skoda used an instrument built 
circa 1785 by the celebrated Viennese instrument- 
maker, Anton Walter. Mozart is known to have been 
a great admirer of Walter’s pianos, which were held 
in high esteem by Mozart’s contemporaries even as 
late as Beethoven. The present instrument is housed 
in the Kunsthistorischen Museum in Vienna where 
these recordings were made. The recordings on the 
modern piano were also made in Austria but the 
make of the instrument used is not mentioned in the 
accompanying notes. 

It is interesting to note that the progress that has 
been made in the making of pianos since Walter’s 
day is not so great. If the present ancient instru- 
ment sounded as good in Mozart’s time as it does 
now, that great composer was rewarded by hearing 
some very beautiful tones. It is no wonder that late 
18th and early 19th century composers wrote so much 
music for the piano — they had really very acceptable 
instruments on which their music might be played. 
Beethoven Sonata Society (Vol. I). Artur 
Schnabel (piano). 4-7" discs in box (0V-WCT- 

1109) $5.14. 1-12" disc (*V-LCT-1109) $5.72. 
CONTENTS: Sonata Ho. 32 in C minor, Op. 

Ill; Sonata [o. 27 in E minor, Op. 90; Sonata Ho. 
24 in F'sharp, Op. 78. 

Beethoven Sonata Society (Vol. II). Artur 
Schnabel (piano). 4-7" discs in box (0V-WCT- 

1110) $5.14. 1-12" disc (*V-LCT-1110) $5.72. 
CONTENTS: Sonata Ho. 30 in E, Op. 109; 

Sonata Ho. 13 in E'flat, Op. 27, Ho. 1; Sonata Ho. 
9 in E, Op. 1 4, Ho. 1 . 

RCA Victor plans to make available the fifteen 
volumes of the famous Beethoven Sonata Society on 
LP discs — one LP disc for each volume. The first 
two volumes have been released recently, and the 
others are to follow at appropriate intervals. It is 
interesting to note that the 78 rpm versions of these 
first two volumes have been out-of-print for many 
years and have brought quite fancy prices as col- 
lectors’ items. We understand that they will never 
be re-pressed at the original speed and thus those 
who possess “first editions” still have items of pre- 
mium value; however, those who are only interested 
in having these sonatas played by the late Artur 
Schnabel may now secure them in either the 45 rpm 
version or on LP discs. As there are many music 
lovers throughout the world who feel that no one 
has ever recorded the Beethoven Piano Sonatas as has 
this distinguished German pianist, it would seem 
that RCA Victor’s venture should meet with sub- 
stantial success. 

Beethoven: Sonata No. 21 in C, Op. 53 (“Wald- 
stein”). Four sides, and Beethoven: Sonata No. 
30 in E, Op. 109. Two and one-half sides, and 
Beethoven: Sonata No. 22 in F, Op. 54. Solomon 
(piano). 4-7" discs in box (0V-WDM-1716) 
$5.14. 1-12" disc (*V-LM-1716) $5.72. 

Some time ago the great British pianist, Solomon, 
recorded Opus 13 and Opus 111, and this month 
three more Beethoven Sonatas played by him are 
made available. We learn that Solomon purposes 
to record all thirty-two of these works. There is no 
question but that Solomon is one of the greatest 
pianists of our day and many consider him a superb 
interpreter of Beethoven; but he will run into stiff 
competition in the Beethoven Sonata field from 
Kempff, Backhaus and Schnabel. All of the Sonatas 
are now available on LP discs by Kempff; Backhaus 

PAGE 13 


indicate! LP 38^ rpm 
0 indicates 45 rpm 


The Nw R ecords 


has recorded most of them and the balance are to 
be released shortly; and it is rumored that the 
famous series that Schnabel made for HMV’s so' 
called limited edition on 78’s will presently be made 
available on LP’s. This will give Beethoven lovers 
a wide choice, and we rather think that it is not 
likely that any of these great keyboard artists will 
receive an overwhelming majority; each will have 
the vote of a substantial group of admirers. 

Schumann: Fantasiestiicke, Op. 12. One side, and 
Schumann: Fantasia in C, Op. 17. Joerg Demus 
(piano). M2" disc (*WEST'WL'5157) $5.95. 
Schumann: Carnaval, Op. 9 (TNR June ’51). One 
side, and Schumann: Papillons, Op. 2 (TNR 
Sept. '51). Guiomar Novaes (piano). IT 2" disc 
*VX'PL'7830) $5.95. 

There are numerous LP recordings of Schumann's 
Fantasiestuc\e, Op. 12 and Fantasia in C, Op. 17 
but we were greatly impressed with the present 
renditions by the young Austrian pianist, Joerg 
Demus. Here is a young artist that bears watching — 
his Schumann to us is something very special — his 
Schubert is also very fine — we don't think he is 
quite ready for Beethoven, but given time he will, 
in our opinion, rate with the best of them in all 
fields of keyboard music. 

The two recordings on the Vox record have been 
previously released on LP discs with other couplings 
and were reviewed in the issues of TNR indicated 
in the heading above. 

Tchaikovsky: "Album for the Young,” Op. 39. 

Poldi Zeitlin (piano). LI 2" disc (*OPUS 6001) 

CONTENTS: Morning Prayer; Winter Morn' 
ing; Hobby Horse; Mamma; The Wooden Soldiers’ 
March; The Sic\ Doll; The Doll’s Funeral; Waltz; 
The New Doll; Mazur\a; Russian Song; Peasant 
Playing the Accordion; Kamarins\aya; Pol\a; Little 
Italian Song; Old French Song; Little German Song; 
Little Neapolitan Song; The Nurse’s Tale; The 
Witch; Sweet Reverie; Song of the Lar\; The Organ 
Grinder’s Song; In the Church. 

Beethoven: (21) Pieces for Piano. Poldi Zeitlin 
(piano). M2" disc (*OPUS 6002) $5.95. 
CONTENTS: (6) German Dances; (6) Country 
Dances; (6) Minuets; Sonatina in G; (6) Varia' 
tions on a Swiss Song; Sonatina in E'flat. 

The two LP records listed above were designed 
primarily for young students of the piano. The 
recordings were made by Poldi Zeitlin, a niece and 
former pupil of the late Artur Schnabel. Miss 
Zeitlin is known for her great success as a teacher 
both abroad and in this country. She came to 
America in 1934 and since that time has been teach' 
ing in New York City. Miss Zeitlin has a national 
reputation and is a member of many educational 
societies in the field of music. 

The first disc contains Tchaikovsky's “ Album for 
the Young,” Op. 39 consisting of twentyTour little 
pieces for piano. These date from 1877 and were 
composed while Tchaikovsky was on a vacation in 
Italy. They were written for the composer’s nephew, 
Vladimir Davidow, a gifted young student of the 
piano. Since that time many young people all over 
the world have had the advantage of these delightful 
little pieces for their enjoyment and study. We 
don’t recall their ever having been recorded before. 

The second disc contains a number of Beethoven 
pieces, most of which are known to young students 
of the piano. Both discs contain much music that 
will be of great help to both teachers and pupils 
and thus we do not hesitate to recommend them. 
If they are well received, the publisher promises 
that more will be issued. 

Dinu Lipatti Recital. Dinu Lipatti (piano). IT 2" 
disc (*C'ML'4633) $5.45. 

CONTENTS: Jesu, Joy of Man’s Desiring; SicilP 
ana (from “Sonata No. 2 in E'flat for Flute Solo’’); 
Partita No. 1 in B'flat; Nun \omm ’ der heiden 
heiland; Ich ruf ’ zu Dir, Herr Jesu Christ (Bach). 
Sonata No. 8 in A minor, K. 310 (Mozart). 

There is an apparent insatiable demand for re' 
cordings by the late Dinu Lipatti, and thus it is only 
necessary to announce that a new disc containing 
such is available. Here is one, and it contains sev' 
eral very delightful selections which should be at' 
tractive to any discerning lover of piano music. 

Beethoven: Sonata No. 21 in C, Op. 53 (“Wald' 
stein’’). One side, and Beethoven: Sonata No. 
30 in E, Op. 109. Rudolf Serkin (piano). IT 2" 
disc (*C'ML'4620) $5.45. 

Rudolf Serkin’s host of admirers will doubtless 
be delighted to know that the present LP disc is 
now available. The performances of both of these 
sonatas are well up to Serkin’s usual standard — 
need we say more? 

A Richard Ellsasser Concert. Richard Ellsasser play' 
ing the organ of the John Hays Hammond, Jr., 
Museum, Gloucester (Mass.). IT 2" disc (*MGM' 
E'3005) $4.85. 

CONTENTS: 19th Psalm (Marcello); Gigue 
Ronde (J. C. F. Bach); Concerto in D minor — 
Adagio (Vivaldi'Bach); Rondo in G (Bull); Chor > 
ale'Prelude on “Rhosymedre” (Vaughan Williams); 
Carillon (Vierne); Fanfare (Thomson); Chollas 
Dance for You (Leach); Soul of the La\e (Karg' 
Elert); Marche Fantastique (Ellsasser). 

In the November 1948 issue of TNR we reviewed 
an album of Bach music played by Richard Ellsasser 
(on 78 rpm discs) produced by a small independent 
company. We now have another, and far more 
satisfactory program played by this virtuoso artist. 

• indicates LP 88^ rpt jl 
4 Indicates 45 rym. 


PAGE 14 


The N ew R ecords 


It is more satisfactory because the material is good 
and unhackneyed and more suitable to Ellsasser's 
talents. His reputation as a Bach performer is indeed 
formidable, being the youngest person in history to 
have memorized and performed all the organ works 
of Bach and the first to give a complete performance 
from memory in America of Bach’s “Liturgy.” Nev' 
ertheless his interpretations of Bach on records are 
rather individual to say the least. 

The pieces played on this disc include some shorter 
works from the standard organ repertoire and some 
novelties, but they are all good organ music, well 
written for the instrument. Ellsasser loses no op' 
portunity to demonstrate the resources of the large 
instrument at his disposal, giving us many charming 
effects and many lovely solo stops. There is also 
the widest possible contrast in the material selected, 
from various schools and styles of composition. Any 
organist will find this an enjoyable disc, and laymen 
who just like organ music will hear some new things 
for the first time. 

In much of the music here recorded Ellsasser has 
made use of the Dynamic Accentor which has recent' 
ly been developed by the pipe organ division of the 
Hammond Research Laboratory of Gloucester, Mass. 
The Dynamic Accentor is an electronic device which, 
when added to an organ, can more than double its 
volume, enrich its tone, and greatly increase its 
power of expression, maintaining at the same time 
true pipe organ quality. Organists may wish to try 
to discover where the device is used on this disc. 
We were not aware of anything unusual taking 
place, which is some proof of its fidelity. S. 


Mr. President. Actual voices of the men who have 
made our history from 1933 to 1953, edited and 
narrated by James Fleming. 4'7" discs in box 
(0V'WDM'1753) $5.14. M2" disc (*V'LM' 

1753) $5.72. 

Here is another in the growing list of documentary 
recordings — it is a rather good one. James Fleming, 
one of the famous news editors of NBC has procured 
recordings of the voices of the great personalities 
and outstanding public figures of the last twenty 
years and tied them together with an interesting and 
lively commentary. An appropriate subtitle to “Mr. 
President” might be “Headlines from F.D.R. to 

Merrill Moore Reading His Own Poetry. (Vols. I, 
II, and III). Merrill Moore (reading and com' 
mentary). 3'10" discs (*HARVARD PMM'1/3) 
$4.95 each. 

VOLUME I (*PMM'l): Introduction; A Vaginal 
Ear; Tou Know What It Means To Be Thoroughly 
Satisfied?; Compulsive Scholar; He Told Me That; 
How He Is Running a Gree\ Restaurant Somewhere; 

Mrs. Broderic\; He Was a Different Fellow after a 
Couple of Drin\s; Ho Comment; That Was Chicago; 
Anything for a §uic\ Buc\; China Theatre, 1945; 
Scene from a Klangsu Landscape; Squaw\y Brad ' 
field; He Read Them Sermons That They Under > 
stood; On Oil; Sleeping by My Pad; In September 
Where Spiders Congregate. 

VOLUME II (*PMM'2): Introduction; The 
Sound of Time Hangs Heavy in My Ears; There 
Is a Way of Life; Men Are Strange; Hothing Can 
Be Too Damnable or Odd; The Most Difficult; Snow 
Melts and Leaves the Branches Glistening; It Is 
Written in the Elements Very Plain ; Ho One Has 
Tried Harder; Elizabeth Fox, Single, Aged 54; 

VOLUME III (*PMM'3) : Introduction; The 
Hoise That Time M a\es; The Boo\ of How; Old 
Men and Old Women; Shot Who? Jim Lane?; 
Undergraduate; Why He Stroked the Cats; Warning 
to One; Sleepy Water; Tou Are the Tou That Poets 
Have Addressed; A Corner for Lefty; They Also 
Stand; The West Facade of the Parthenon Tells It 
All; Oh! Glimmering World; The Papers ; Grand' 
fathers Morning Is a Simple One; How Could I 

Those of our readers who are interested in modern 
poetry will doubtless be pleased to know that Mer' 
rill Moore has recently recorded quite a number of 
his poems for the poetry Room, Harvard College 
Library. These LP recordings were made under the 
supervision of Professor F. C. Packard, Jr. and 
have been issued under the Harvard Vocarium label. 


French Horn Masterpieces. James Stagliano (horn) 
and Margo Stagliano (soprano) accompanied by 
Paul Ulanowsky (piano). M2" disc (*BOSTON 
L'200) $5.95. 

CONTENTS: Sonata for Horn and Piano, Op. 
17 (Beethoven); Concerto Rondo for Horn and 
Piano, K. 370 (Mozart); Auf dem Strom, Op. 11 9 
(horn, soprano and piano) (Schubert); Adagio and 
Allegro for Horn and Piano, Op. 70 (Schumann). 

The repertory of recorded chamber music is greatly 
enriched by the four selections to be found on this 
fine and unusual LP disc. All of them were writ' 
ten for the French horn — three are for that instru' 
ment with piano and the fourth adds a voice (either 
tenor or soprano). The last selection (Schubert’s 
Auf dem Strom, Op. 11$) was new to us and we 
were fascinated by it — we played it over three times, 
each time with greater enjoyment. 

We must say a word for the fine artists who have 
made these thoroughly delightful recordings. James 

PAGE 15 


Indicates LP 8S^ rpn> 
0 Indicates 45 rpm 


The N ew Records 


Stagliano is the horn soloist of the Boston Symphony 
Orchestra and also a member of the faculty of the 
Berkshire Music Center at Tanglewood. His wife, 
Margo, holds an Artist Diploma from the New Eng- 
land Conservatory of Music and has appeared with 
a number of orchestras including the Boston Sym- 
phony. Paul Ulanowsky is the well-known pianist 
and accompanist. He is also on the faculty of the 
Berkshire Music Center. 


Bach: Clavierubung (complete). Ralph Kirkpatrick 
(harpsichord) and Paul Callaway, playing the 
organ in Washington (D. C.) Cathedral. 7-12" 
discs in box (*HS-HSL-A) $41.65. Also available 

*HS-HSL-3056: Partita No. 1 in B'flat; Partita 
No. 5 in G. Kirkpatrick. $5.95. 

*HS-HSL-3057: Partita T^o. 2 in C minor; Partita 
No. 4 in D. Kirkpatrick. $5.95. 

*HS-HSL-3058: Partita No. 3 in A minor; Partita 
No. 6 in E minor. Kirkpatrick. $5.95. 

*HS-HSL-3059: Ouverture a la maniere Fran' 
qaise; (4) Duets; Italian Concerto in F. Kirkpatrick. 

*HS-HSL-3060: Introduction; Kyrie; Gloria ; Ten 
Commandments. Callaway. $5.95. 

*HS-HSL-3061 : Credo; Lord’s Prayer; Baptism; 
Penitence; Communion; Conclusion. Callaway. $5.95. 

*HS-HSL-3062: The Goldberg Variations. Kirk- 
patrick. $5.95. 

For the first time Bach’s prodigious collection of 
keyboard works, one of the pinnacles in the musical 
art of Western civilization, has been recorded in its 
entirety. Ralph Kirkpatrick offers one of the finest 
examples of harpsichord playing we have heard. 
The intelligence and tastefulness of his performance 
should provide, even for the Bach lover whose audi- 
tory journey has been lengthy, the final step towards 

Paul Callaway's execution of the Organ Mass con- 
tains an understanding of that work we have not 
found previously extended. Not even Helmut 
Walcha's recording of it can match this one. Indeed, 
Walcha’s use of a baroque organ to achieve authen- 
ticity works in this instance to a disadvantage, for 
the more sombre tone of the modern organ seems 
more suited to the spirit of the Mass. 

Program notes by Kirkpatrick are intelligent and 
extensive. Reproduction is excellent. C. 


The World's Encyclopaedia of Recorded 
Music. By Francis F. Clough and G. J. 
Cuming. 890 pp. Sidgwick and Jackson, 
Ltd. (London). Price $17.50. 

The T^ew Catalogue of Historical Records 
1 898' 1 908/09. Compiled by Robert Bauer. 
494 pp. Published in England. For sale in 
U. S. A. by H. Royer Smith Co. (PhiladeL 
phia). Price $7.25. 

The Gramophone Shop Encyclopedia of Re- 
corded Music (Third Edition). Robert H. 
Reid, Supervising Editor, 639 pp. Crown 
Publishers (New York). Price $2.95. 

The Victor Boo\ of Operas . Revised and edited 
by Louis Biancolli and Robert Bagar. 
xxiv+596 pp. Illustrated. Simon and 
Schuster (New York). Price $3.95. 

Victor Boo\ of Concertos. By Abraham Veinus. 
xxv + 450 pp. Simon and Schuster (New 
York). Price $3.95. 

Collectors' Guide to American Recordings 
1895'1925. By Julian Morton Moses. 
Foreword by Giuseppe De Luca. 200 pp 
Published by the author. Price $3.75. 

I Hear You Calling Me. By Lily McCormack. 
201 pp. Illustrated. The Bruce Publishing 
Co. (Milwaukee). Price $2.75. 

Records: 1950 Edition. By David Hall, ix -f 
524 + xx PP 8 * Alfred A. Knopf (New 
York). Price $6. 

NOTE: All the above books have been reviewed 
in previous issues of The "Hew Records. If your local 
dealer does not stock them, orders addressed to H. 
Royer Smith Co., Philadelphia 7, Pa., will be promptly 
filled. The prices quoted include postage to any point 
within U.S.A. 

The first letters In the record number Indicate the manufacturer: BG— Bach Guild, BL — Bibletone, C — Columbia, CE — Cetra, CH — Concert 
Hall Society, CL — Capitol, CSM — Colosseum, CRS — Collector's Record Shop. D — Decca, DL — Dial, ESO — Esoteric, FEST — Festival, 
FOLK— Ethnic Folkways Library, GIOA— Gregorian Institute of America, HS — Hadyn Society, L — London Gramophone, LYR — Lyrl- 
chord, ME— Mercury, OC — Oceanic, OL— L’Oiseau Lyre, PE— Period. PH M— Philharmonia, PLM— Polymuslc, REN— Renaissance, SOT— 
Sounds of Our Times, STB— Stradivari, UR— Urania, V— Victor, VAN— Vanguard, VX— Vox, and WEST— Westminster. 

• Indicates LP 83% rpm. 
(A Indicates 45 rpm. 


PAGE 16 


T he New Records 


Issued Monthly by 


“The World’s Record Shop” 


VOL. 2 I , NO . 2 APRIL. 1 953 ** mal1 *° addr «* 

SI 9*t yej? 

"DOR many years the art of recording was 
well ahead of the instruments that were 
made to play the records. In other words there 
was always more on the record than the phono' 
graph would reproduce. Today things have 
changed, and many persons think that the new 
high fidelity instruments are capable of repro' 
ducing more than the present records contain. 
With this in mind Audiophile Records, Inc. 
has set about to produce records of an ex' 
tremely wide frequency range with the lowest 
possible distortion. These records are intended 
primarily for those persons who are interested 
in high fidelity reproducing equipment. They 
might well be considered test records in which 
the fidelity of recording is of the greatest iim 
portance; the musical value is secondary. 

Audiophile Records feels that the best pos' 
sible recordings can be made at 78 rpm with 
the grooves made to be played with a micro' 
groove stylus. All Audiophile records should 
be played with a microgroove stylus regardless 
of whether they are made at 78 or 33]/3 rpm. 
This should be borne in mind because if one 
of these records is played with a needle whose 
tip radius is greater than that of the micro 
groove stylus, the record will be quickly ruined. 
All Audiophile records should be played with 
the same needle that you use for your LP (33J/3 
rpm) discs. 

For those of our readers who are interested 
in high fidelity reproduction we are listing 
the presently available Audiophile records. 

The following records have been recorded at 
78 rpm: 

Organ Music. Robert Noehren (organ). PI 2" disc 


CONTENTS: Carillon de Westminster (Vierne); 
Legende (Vierne); Prelude and Fugue on B'A'C'H 

Dixieland Jazz (Vol. I). Harry Blons and his Dixie' 
land Band. M2" disc (AUDIOPHILE APT) 

CONTENTS: Pop Goes the Weasel; Wolverine 
Blues; Tia Juana; Lassus Trombone; Chimes Blues; 

The following records have been recorded 
at 33J/3 rpm: 

Organ Music. Robert Noehren (organ). IT 2" disc 

CONTENTS: Carillon de Westminster (Vierne); 
Scherzetto (Vierne); Divertissement (Vierne); (5) 
Short Choral Preludes (Reger); Prelude and Fugue 
on B'A'C'H (Liszt). 

Organ Music. Robert Noehren (organ). 2T2" 
discs in folder (* AUDIOPHILE APT/ 5) $11.90. 
CONTENTS: (3) Chorals (Franck); Prelude, 
Fugue and Variation (Franck). 

If your local dealer does not stock Audio' 
phile records, orders sent direct to the pub' 
hshers of this bulletin will be promptly filled. 


We are continually receiving requests for 
back copies of The New Records. Most of 
the issues published during the last twenty 
years are available. The price is 10c each. A 
file of all of the available issues (at least 140 
copies) is $5. These prices are postpaid within 


Our studio has been flooded with releases of over' 
tures, waltzes and the like recently released by sev' 
eral manufacturers. Due to severe space limitations 
we cannot consider each i^gue separately; but be' 
cause we feel that many of our readers would like 
to know of the release of these extremely popular 
items, we are listing them below. 

Suppe: Poet and Peasant — Overture. One side, 
and Suppe: Pique Dame — Overture. London 
Philharmonic Orchestra conducted by Georg Solti. 
1T0" disc (*L'LD'9006) $2.95. 

april The New R ecords 1953 

Strauss: Die Fledermaus — Overture. One side, and 
Strauss: Der Zigeunerbaron — Overture. Vienna 
Philharmonic Orchestra conducted by Clemens 
Krauss. MO" disc (*L'LD'9008) $2.95. 

Rossini: L’ltaliana in Algeri — Overture. One side, 
and Rossini: Don Pasquale — Overture. New 
Symphony Orchestra conducted by Alberto Erede. 
MO" disc (*L'LD'9010) $2.95. 

Herold: Zampa — Overture. One side, and Adam: 
Si J’Etais Roi — Overture. London Philharmonic 
Orchestra conducted by Jean Martinon. MO" 
disc (*L'LD'9011) $2.95. 

Rossini: II Barbiere di Siviglia — Overture. One side, 
and Nicolai: The Merry Wives of Windsor — 

Overture. L’Orchestre de la Suisse Romande con' 
ducted by Victor Olof. MO" disc (*L'LD'9012) 

Beethoven: Prometheus Overture, Op. 43. One 
side, and Beethoven: Fidelio — Overture. London 
Philharmonic Orchestra conducted by Eduard van 
Beinum. MO" disc (*L'LD'9024) $2.95. 

Weber: Oberon — Overture. One side, and Weber: 
Euryanthe — Overture. Vienna Philharmonic Or' 
chestra conducted by Karl Bohm. MO" disc 
(*L'LD'9002) $2.95. 

Mozart: Magic Flute — Overture. One side, and 
Mozart: Don Giovanni — Overture. London Sym' 
phony Orchestra conducted by Josef Krips. MO" 
disc (*L'LD'9001) $2.95. 

Beethoven: Leonore Overture No. 3, Op. 42a. 
One side, and Beethoven: Consecration of the 
House Overture, Op. 124. London Philharmonic 
Orchestra conducted by Eduard van Beinum. MO" 
disc (*L'LD'9022) $2.95. 

R. Strauss: Der Rosenkavalier — Waltzes. One side, 
and Humperdinck: Hansel und Gretel — Dream 
Pantomime. London Philharmonic Orchestra con' 
ducted by Anthony Collins. MO" disc (*L'LD' 
9025) $2.95. 

Beethoven: Egmont Overture, Op. 84. One side, 
and Beethoven: Coriolan Overture, Op. 62. Lon' 
don Philharmonic Orchestra conducted by Eduard 
van Beinum. MO" disc (*L'LD'9021) $2.95. 

Massenet: Phedre — Overture. One side, and Saint 
Saens: La Princesse Jaune — Overture. L’Or' 
chestre de l’Opera Comique (Paris) conducted by 
Albert Wolff. MO" disc (*L'LD'9020) $2.95. 

Strauss: Wine, Women and Song Waltz. One side, 
and Strauss: Wiener Blut. London Symphony 
Orchestra conducted by Josef Krips. MO" disc 
(*L'LD'9013) $2.95. 

Nielsen: Helios Overture. One side, and Schultz: 
Serenade for Strings. Danish State Radio Sym' 
phony Orchestra conducted by Erik Tuxen. MO" 
disc (*L'LS'653) $4.95. 


Berlioz: Symphonie Funebre et Triomphale,Op. 15. 
Great Symphonic Brass Orchestra of Cologne, 
String Orchestra of Cologne, and Chorus of the 
Kolnischer Chor conducted by Fritz Straub. M2" 
disc (*LYR'LL'40) $5.95. 

Berlioz: Romeo and Juliet, Op. 17 (abridged). 
PhilharmoniC'Symphony Orchestra of New York 
conducted by Dimitri Mitropoulos. M2" disc 
(*C'ML'4632) $5.45. 

Cecil Gray once wrote, very astutely, concerning 
the listener’s reaction to the music of Berlioz, “either 
you receive at once, from the very first work of his 
that you hear, a thrill akin to an electric shock, or 
else you are completely insulated and rendered for' 
ever immune by a pachydermatous hide of indiffer' 
ence or distaste.” 

Originality, a quality Berlioz possessed to a greater 
degree than any other composer, is what Gray had 
in mind when he wrote the above; and originality 
is the keynote of the Fourth Symphony, the Sym' 
phonie Funebre et Triomphale. This astonishing 
score was written to honor the heroic dead of the 
Revolution of 1830. The work was first heard in 
July 1840 and is divided into three sections, a kind 
of drama in three acts. First is the funeral procession 
proper, then a more personal tribute in the form of 
a funeral oration which leads into the finale, an 
apotheosis, a song of triumph. It is thoroughly mag' 
nificent music from start to finish — the finest funeral 
music, incidentally, this reviewer has ever heard, 
bar none. The extraordinary blend of sublimity and 
tenderness, the titanic sweetness of the music is 
peculiar to Berlioz. The performance and recording 
are equally good, and much is added to the listener’s 
enjoyment by Jacques Barzun’s informative notes. 
A must for all Berliozians and worth investigation 
by all serious music lovers. 

The second item, the Romeo et Juiliette Symphony, 
is a profound disappointment. To begin with, Colum' 
bia’s statement identifying the record as “the com' 
plete orchestral score” is deliberately misleading. 
What the disc amounts to is the usual three orches' 
tral portions Romeo's Reverie, the Love Music 
(chorus omitted) and the i-^ueen Mab scherzo plus 
two small orchestral fragments at the beginning and 
end. Of Dimitri Mitropoulous’ direction, one can 
only brand it as insensitive. He uses a large orchestra 
in the scherzo, with the result that Queen Mab’s 
tiny chariot does not seem to be drawn by gnats but 
by the brewer’s big horses. By lending his name to 
such a travesty of this great score Mitropoulous adds 
nothing to his artistic stature — rather the opposite. 

Columbia's recording is excellent — one could only 
wish their taste were equally good. For those who 
want Berlioz’ Romeo et Juliet the only sound advice 
is to wait; music as fine as this will certainly receive 
an adequate performance and recording before too 
long. W . 

* Indie* tan LP rpm. 

4 indicates 45 rpm. 




The IS lew R ecords 


Tchaikovsky: The Swan Lake, Op. 20. Orchestra 
of the National Theatre (Prague) conducted by 
Jaroslav Krombholc. 2- 12" discs in album (*UR- 
URLP-404) $9.70. 

Tchaikovsky: The Sleeping Beauty, Op. 66. L’Or- 
chestra de la Societe des Concerts du Conserva- 
toire de Paris conducted by Anatole Fistoulari. 
2' 12" discs in album (*L-LL-636/7) $11.90. 
There are many versions of both these works on 
LP, but The Sleeping Beauty appears for the first 
time in a complete edition and The Swan La\e is 
here recorded completely for the second time. Fistou- 
lari and the London Symphony recorded The Swan 
La\e complete (*L-LL-565/6) a short time ago. 
Which of the two complete Swan La\es to get is no 
easy matter to decide. Fistoulari was one time chef 
d'orchestre of the Ballet Russe de Monte Carlo and 
knows his way around ballet scores from first hand 
experience; furthermore he is an excellent conductor 
of the general repertoire. Jaroslav Krombholc is a 
new name to us. His reading of the Swan La\e in 
the present album is no ordinary achievement. There 
is an enthusiasm and an urgency in this performance 
that bring new life and excitement to the music. 
We had expected nothing like this from the National 
Theatre Orchestra of Prague under Krombholc, but 
here it is; and we must admit it was a wonderful 
listening experience! Swan La\e is supposed to be 
inferior to Sleeping Beauty as a musical score, but 
we enjoyed it more, possibly because of the mar" 
velous performance. Urania’s reproduction is splen- 
did, and the orchestral crescendos are notably thrill- 
ing in their range of dynamics and clarity. This 
Swan La\e is so good that we think it is worth 
getting the complete version rather than a disc of 
the principal excerpts. The music you don’t usually 
hear is as good as the popular excerpts, at least 
under Krombholc’s hands. 

The complete Sleeping Beauty does not appeal to 
us as much as the versions which give the highlights. 
The Stokowski set is a nearly complete version on 
one LP (*V'LM'1010) and his reading is an inter' 
esting one which we feel is quite satisfying for any- 
one who wants more Sleeping Beauty than occurs 
on the usual disc of excerpts. Our choice then is 
for Stokowski for Sleeping Beauty and Krombholc 
for Swan La\e, with plenty of other satisfactory 
discs for those who disagree. S. 

R. Strauss: Ein Heldenleben, Op. 40. Minneapolis 
Symphony Orchestra conducted by Antal Dorati. 
M2" disc (*ME-MG-50012) $5.95. 

R. Strauss: Der Burger als Edelmann, Op. 60. 

Vienna Philharmonic Orchestra conducted by 
Clemens Krauss. 1-12" disc (*L-LL-684) $5.95. 
The classic interpretation of Ein Heldenleben has 
always been, and still remains, that by Mengelberg. 
His first recording with the New York Philharmonic 
is long since unavailable, but his recording, of a 

later date, with the Amsterdam orchestra (*CL-P- 
801 3 )\ is one that seems to be the measuring stick 
for this work. Dedicated to Mengelberg, this over- 
blown autobiography in music was so thoroughly 
believed in and understood by Mengelberg that his 
performance has the breadth and intensity that others 
cannot seem to match. Possibly he was as great an 
egotist as Strauss and the kindred spirits resulted 
in his great reading of the work. Whatever it was, 
Mengelberg has stated this music as few others can. 

Antal Dorati and the Minneapolis orchestra offer 
a reading that is valid in every respect, well played, 
logical, and sincerely executed. What it may lack 
in rhetoric is made up in Mercury’s reproduction, 
which is of today’s best. The clarity of the full 
orchestral sound is as thrilling in its transparency as 
it is in sheer volume. This disc is easily the best 
Ein Heldenleben in sound, and with its excellent 
performance and good solo work, it is recommended 
to those who wish the work, with the exception of 
those who want a legendary interpretation even if 
less desirable reproduction — then it is Mengelberg. 
All other recordings including that by Strauss him- 
self, fit somewhere between these two in the matters 
of reproduction and interpretation. 

Der Burger als Edelmann is more familiarly known 
as Le Bourgeois Gentilhomme or “The Would-Be 
Gentleman.’’ It is available on LP conducted by 
Fritz Reiner and also by Strauss himself. Clemens 
Krauss and the Vienna Philharmonic provide a beau- 
tiful account of the music and also enjoy by far the 
best reproduction. The nine sections of this work, 
while contrasted, are for the most part much more 
tame than most of Strauss’ work, and this music has 
seemed as something peculiar and out of the way for 
Strauss fans. It is actually quite charming and prob- 
ably better than some of Strauss’ things which pro- 
duce goose-flesh. S. 

Goeb: Symphony No. 3. Leopold Stokowski and 
His Symphony Orchestra. One side, and Bartok: 
Sonata for Two Pianos and Percussion. Gerson 
Yessin and Raymond Viola (pianos) and Elayne 
Jones and Alfred Howard (percussion). 4-7" 
discs in box (0V-WDM-1727) $5.14. 1-12" disc 
(*V-LM-1727) $5.72. 

For those willing to explore new paths , in music, 
this disc will provide the finest material. Both of the 
works here recorded are, according to Mr. Stokowski, 
something new in music. Bartok, in particular, has 
achieved a new music in his work. Bartok absorbs 
all earlier conceptions of sonata form, and develops 
them boldly in several new directions with his own 
personal creative vitality. He combines the percussive 
possibilities of the piano with the precise rhythmic 
dynamics of the timpani and<xylophone in a perfect 
blending unparalleled in all music so far. There are 
many fine shadings in the percussion writing and 
Stokowski and his players explore them perfectly in 
the performance. The program notes for both works 

• indicate* LP 18^ rpai 
0 indicate* 45 rpoe 




r \he New "Records 


on this disc appear over Stokowski’s signature, so 
we assume he wrote them — they sound like him. 
These program notes are among the best it has been 
our pleasure to read in many a reviewing session, 
and we wish Stokey would write all of RCA’s notes, 
as well as a few other companies’. You will find 
them informative and indeed helpful when studying 
the music recorded. We have borrowed freely from 
them in descriptive matter in this short review. 

Stokowski claims Goeb’s music is one of the many 
expressions today of the independence of American 
Culture in general. Today the most talented Ameri' 
can composers are expressing through Tone and 
Rhythm our conception of the life of action and 
feeling of America. Goeb is one of the most out' 
standing of these. He says further that, frankly, this 
highly developed and deeply original symphony will 
not be understood by one hearing. A detailed inteh 
lectual analysis of its themes and structure might 
confuse the listener. Only repeated listening, with 
an open mind and heart, will reveal its musical mes' 
sage with clear forms and eloquent expression of its 
depth of feeling. 

We think this record is of exceptional merit and 
recommend it highly to anyone interested in some' 
thing new and worth while in modern music. Sto' 
kowski has no peers in presenting music of this sort, 
and his results here are obviously wonderful. The 
reproduction is superb, with the difficult percussion 
captured excellently. S. 

Mozart: Serenade No. 10 in B-flat, K. 361. Los 

Angeles Woodwinds conducted by William Stein' 
berg. M2" disc (*CL'P'8181) $4.98. 

Mozart: Symphony No. 26 in E-flat, K. 184. One 
side, and Mozart: Symphony No. 32 in G, K. 
318. Bamberg Symphony Orchestra conducted by 
Fritz Lehmann. MO" disc (*D'DL'4045) $2.50. 
These two Mozart discs are welcome on several 
counts. The Serenade No. 10 in B Flat is a real 
major work; and this is the first really satisfactory 
performance and recording of it, although three are 
now available. Koussevitzky’s effort for Victor (TNR 
June ’49) misses fire completely due to his inability 
to grasp the Mozart style while Vox’s performance 
(TNR Mar. ’50) was dull and poorly played. It 
was so poor that this reviewer was inclined to think 
the fault Mozart’s (he should have known better!). 

The Serenade dates from 1781 and is a true 
masterpiece from beginning to end. The enjoyment 
of the sheer sound that emanates from the wind 
group is one of the most fascinating musical expe' 
riences. How Mozart explores the combinations and 
colorings of the instruments is indescribable. A quartet 
of clarinets and basset horns, a sextet of oboes, basset 
horns and bassoons over the supporting double bass 
— such are a few of the combinations and the melo' 
dies are among the most ravishing Mozart ever 

Mr. Steinberg and his musicians play the work 

• Indicates LP SS]/ 3 rpm. 
0 indicates 45 rpm. 

superbly and to the hilt. All the repeats, one is glad 
to note, are observed, thus preserving the formal 
structure of the piece. One digression has been made 
— a contra'bassoon is used in addition to the con' 
ventional double bass Mozart called for. There 
seems to be some confusion as to which instrument 
should be used, but Mr. Steinberg's inclusion of 
both is a happy one as is evidenced by this perform' 
ance. Capitol’s recording is virtually perfect. 

The little Decca record, with its modest price, is 
also a decidedly worthwhile release. The first record' 
ing of the Symphony No. 26 in E Flat is cause for 
rejoicing and the present waxing of the Symphony 
No. 32 in G is superior technically to the older 
Capitol'Telefunken disc. Neither of these works can 
be called a “Symphony” in the present sense of the 
word; rather they are overtures (Italian — fast'slow' 
fast). Indeed, the Symphony No. 32 is strongly 
suspected of being the overture to the incomplete 
Zaide (TNR Jan. ’53). Both are well played, finely 
recorded and decidedly worth owning. W. 

Dvorak: Slavonic Dances, Op. 46 (complete). Two 
sides, and Dvorak: Slavonic Dances, Op. 72 

(complete). Czech Philharmonic Orchestra con' 
ducted by Vaclav Talich. 2' 12" discs (*UR' 
URLP'604) $11.90. 

Dvorak: Slavonic Dances, Op. 46 (complete). 
Czech Philharmonic Orchestra conducted by Vac' 
lav Talich. M2" disc (*UR'URLP'7076) $5.95. 
The set that Talich and the Czech Orchestra made 
for Victor some years ago of these Slavonic Dances 
has been the criterion, and we are fortunate that 
the same forces now have this music in modern 
reproduction. And for once, the new recording is 
even better in performance than the former one. 
So often the remake lacks the sparkle and inspiration 
of the original effort; but this time there is more 
finish and polish to both the interpretation and the 
performance. Talich is clearly the greatest inter' 
preter this wonderful music has ever had, and his 
present album is beyond comparison with anything 
else on discs. It is also complete, for both Op. 46 
and Op. 72 are presented in their entirety. The quality 
of the reproduction is something of a surprise, for 
it is equal to the best work of our “free” countries, 
and mirrors the performances faithfully. Urania is 
to be congratulated in every respect for this set. 

What there is about Talich’s way with the Dvorak 
Slavonic Dances that distinguishes it from other 
conductors’ readings is hard to describe. He is full 
of dash and enthusiasm in the lively dances and 
equally as effective in the slower ones with a serene 
and reflective manner. Talich must have a thorough 
understanding of the music, its idiom, its meaning, 
and a genuine love for it all. He does not negate 
any of this with virtuoso tricks of conducting; every' 
thing sounds perfectly natural and easy. You just 
have to hear this set to appreciate its quality. S. 





T he Nm R ecords 

Schubert: Symphony No. 9 in C (“Great"). Vienna 
Philharmonic Orchestra conducted by Herbert 
Von Karajan. M2" disc (*C'ML'4631) $5.45. 
Just last month we reviewed the Schubert 7s linth 
as recorded by Furtwangler and the Berlin Phil' 
harmonic (*D'DX'119) and found it outstanding. 
Von Karajan presents a reading of the work which 
is vastly different, to our ears, from Furtwangler. 
In Von Karajan’s hands the work is scaled down, 
is more closely knit, moves along in an orderly and 
businesslike fashion, and hardly earns the title of 
“Great.” It is not necessarily a hurried performance, 
but it seems to lack strength and conviction. It 
certainly has not the muscular energy and fire of 
the Toscanini reading, for those who like a gallop' 
ing, straightforward performance. And it has not 
the intensity and cumulative power of the Walter 
reading. Needless to say, it lacks the lofty air of 
the Furtwangler reading. We feel that Von Karajan’s 
reading it not bad; it is just not exceptional, nor of 
a calibre which this music deserves. In this case, 
good is not good enough. 

Whoever was conducting the Vienna Philharmonic 
in whatever interpretation of the Schubert tynth 
would result in some beautiful playing by this re' 
nowned group, and you will hear moments of mag' 
nificent orchestral eloquence by an orchestra steeped 
in Schubertian tradition. The reproduction is of the 
bright, clear, and lively variety, very telling, and 
bordering on thinness once in a while. Again a great 
contrast to the admired Furtwangler recording, 
where the reproduction is big, bloomy, and rich, 
bordering on thickness. Well, whatever the prospec' 
tive purchaser's taste may be, he will find something 
in a Schubert T^inth to enjoy, for about every kind 
of performance and reproduction are now on LP. 
Just be sure to ask for the Schubert “Great” C major 
symphony, for some of the companies, including 
Columbia, still label it the “Seventh.” S. 

Kodaly: Hary Janos — Suite. One side, and Bartok: 
Divertimento for String Orchestra. Minneapolis 
Symphony Orchestra conducted by Antal Dorati. 
4'7" discs in box (0V'WDM'175O) $5.14. M2" 
disc (*V'LM'1750) $5.72. 

The pairing on this disc is good, with two compo' 
sitions by Hungarian composers, but of a nicely con' 
trasting style. The Bartok Divertimento is much 
more lighthearted and gay than most of his works, 
and is quite easy to listen to the first time, even for 
those not attuned to contemporary musical styles. 
It was composed in the short period of two weeks 
during the summer of 1939 and is the second of two 
works which Bartok composed for string orchestra 
alone (the first preceded it by many years). It is 
in three movements. Dorati offers a splendid reading 
in a recording more pleasant soundifig than the 
other LP version by Tibor Serly (*BARTOK BRS' 

Kodaly’s Hary Janos Suite, a great favorite of 

ours, received a warm and enthusiastic review here 
when it was issued by Ormandy and the Philadel' 
phians (*C'ML'4306) (TNR Aug. ’50). A com' 
pejlrison of the two discs shows Ormandy has not been 
nudged out of first place by this newer issue of 
Dorati. The reproduction of the Ormandy disc is 
fuller and bolder with a richer texture, if a tiny bit 
less clarity at times. The performance has a finer 
finish and often more dash and vigor under 
Ormandy’s hands. Dorati’s reading is indeed good, 
and the performance and reproduction are also good; 
but Ormandy’s is better, as one can hear by playing 
both discs. We have heard better playing by the 
Minneapolis Orchestra under Dorati in later record' 
ings on the Mercury label. 

If the Hary Janos Suite is what you seek, get 
Ormandy. If you prefer the Dorati coupling, it is 
a highly acceptable second choice. S. 

Ellington Uptown. Duke Ellington and his Orches' 
tra. M2" disc (*C'ML'4639) $5.45. 
CONTENTS: S\in Deep ; The M ooche; Ta\e the 
“A” Train; A Tone Parallel to Harlem; Perdido. 

In the study of the art form of Hot Jazz the 
phonograph record is the thing, for in jazz the selec' 
tion being played is but a means to an end; the 
artists, the arrangement, the spirit at the actual re' 
cording session — these are what are studied. A new 
recording of Louis Armstrong’s Potato Head Blues, 
even by Louis himself, would be impossible, any 
more than it would be possible to have a second 
Battle of Midway; the situation at a new recording 
session would be different — perhaps better, perhaps 
worse — but different all the same. 

And this is indeed unfortunate. There has been 
considerable clamoring among jazz enthusiasts for 
the issuance of good jazz on wide range records; 
they feel they are entitled to “hi'fi” jazz just as 
classical music lovers are entitled to good reproduc' 
tion on their discs. However, because much good 
jazz was recorded in the late twenties and early thir' 
ties, such recordings must remain in the category 
“reproduction — fair.” 

It therefore gives us pleasure to be able to an' 
nounce that Columbia has issued this month a re' 
cording of the immortal Edward Kennedy “Duke” 
Ellington, the reproduction of which is second to 
none. The band, including the soloists, was “up” 
for this fortuitous session. Jazz lovers will want this 
disc; it may well bode better things to come in the 
reproduction of Le Jazz Hot. J. 

Delius: Eventyr (“Once Upon a Time”). One side, 
and Delius: North Country Sketches. Royal Phil' 
harmonic Orchestra conducted by Sir Thomas 
Beecham. M2" disc (*C'ML'4637) $5.45. 
Whenever we see the names of Delius and 
Beecham together as we do on this disc we are very 
sure that we are going to listen to some unusual and 
thoroughly delightful music. We were not disap' 
pointed when we listened to the present LP record. 



Indicates LP 83 rpni. 
0 Indicates 45 rpm. 


like New Records 1953 

. . . Eventyr was inspired by a collection of Nor' 
wegian folk stories that came to Delius' attention. 
Just as the stories are full of fantastic spirits, giants, 
kelpies and hobgoblins, so is Delius' music filled with 
musical suggestions of these legendary creatures. We 
found it fascinating. . . . Worth Country Sketches 
was inspired by the countryside of Yorkshire, and 
the four sections are entitled: Autumn, the wind 
soughs in the trees; Winter Landscape; Dance; The 
March of Spring. ... If you know Delius, you will 
certainly wish to hear this record; if you don't, here 
is a good opportunity to make the acquaintance of an 
unique figure in the world of music. 

New Year Concert 1953. Vienna Philharmonic Or* 
chestra conducted by Clemens Krauss. 1-1 2" disc 
(*L-LL-683) $5.95. 

CONTENTS: Dorfschwalben aus Osterreich; 
Moulinet ; Ohne Sorgen; Feuerfest (Josef Strauss). 
Stadt und Land; A uf der Jagd; Morgenblatter; Ritter 
Pasman; Perpetuum Mobile (Johann Strauss). 

"Each year Vienna, the city for which the Strauss 
family composed their greatest pieces, presents a pro- 
gram dedicated to their honor. The material is 
selected by popular request and played on the first 
day of January by the world-famous Vienna Philhar- 
monic Orchestra under the direction of Clemens 
Krauss. London has previously been privileged to 
bring you the contents of these programs through 
recordings made prior to the actual concert. The 
success of the first recording (*L-LL-484) has en- 
couraged us to embark upon these annual events 
as a part of our regular recording schedule. This 
present collection is the second in the projected 

The above paragraph is quoted from London's an- 
nouncement of the present LP disc and, we feel, 
fully describes it. All that we believe it is neces- 
sary to add is that the reproduction is ffrr at its best. 

Goldmark: Symphony, Op. 26 ("Rustic Wedding"). 
Royal Philharmonic Orchestra conducted by Sir 
Thomas Beecham. 1-12" disc (*C-ML-4626) 

Rather than a symphony, this is a suite of musical 
tableaux that are illustrative of the program sug- 
gested by the title of each movement. These move- 
ments are marked, Wedding March, Bride’s Song, 
Serenade, In the Garden, and The Dance. It is pic- 
turesque and full of captivating melodies, prevail- 
ingly gay and sentimental, and is a romantic master- 
piece of its kind. While not as frequently heard 
today on concert programs as it was around the turn 
of the century, it is worthy of a good performance 
now and then. It has had several recordings, all of 
them good; but none of them exceed the present one. 

The only other version available on LP is by 
Swoboda and the Vienna State Opera Orchestra 
(*CH-CHS-1138), and while it is a good job, 
Beecham easily runs away with the honors. Sir 

Thomas handles this score with the delicate percep- 
tion which marks his best work. The gracefulness 
with which he turns the phrases is indeed a joy. 
His sense of balance and his innate good taste bring 
a freshness to his reading of this lovely music that 
we doubt could be bettered. The Royal Philharmonic 
performs superbly, and their tone and the way it 
is reproduced add to the over-all effectiveness of 
this disc. We would give this record our highest 
endorsement from every standpoint. S. 

Beethoven: (12) Contretanze. One side, and 
Beethoven: (11) Wiener Tanze. Vienna State 
Orchestra conducted by Franz Litschauer. 1-12" 
disc ( *VAN-VRS-429 ) $5.95. 

Grieg: (4) Norwegian Dances, Op. 35. One side, 
and Sibelius: Rakastava Suite, Op. 14 and 
Sibelius: Valse Triste, Op. 44. Vienna State 
Opera Orchestra conducted by Franz Litschauer. 
1-12" disc (*VAN-VRS-430) $5.95. 

Strauss: Pizzicato Polka. Berlin Philharmonic Or- 
chestra conducted by Ferenc Fricsay. And Strauss: 
If You Please and Strauss: Leichtes Blut, 
Schnell-polka, Op. 319 ("High Spirits"). Wurt- 
temberg State Orchestra conducted by Ferdinand 
Leitner. One side, and Strauss: Annen Polka, 
Op. 117 and Strauss: Tritsch-Tratsch, Op. 214. 
RIAS Symphony Orchestra conducted by Ferenc 
Fricsay. 1-10" disc (*D-DL-4043) $2.50. 

Sibelius: Finlandia, Op. 26, No. 2 and Sibelius: 
Festivo, Op. 25, No. 3. One side, and Sibelius: 
Swan of Tuonela, Op. 22, No. 3 and Sibelius: 
Valse Triste, Op. 44. London Symphony Orches- 
tra conducted by Anatole Fistoulari. 1-10" disc 
(*MGM-E-166) $3. 

We have grouped these LP discs together because 
they all contain music that is tuneful and easy to 
enjoy. For the most part it is music that one is likely 
to encounter at summer concerts of fine orchestras. 
These selections are intended for the pleasure of 
the listeners, and so we suggest that you relax and 
enjoy them. They have been beautifully played and 
splendidly recorded. 

Slaughter on 10th Avenue and other Ballet Selec- 
tions. Boston Pops Orchestra conducted by Arthur 
Fiedler. 4-7" discs in box (0V-WDM-1726) $5.14. 
1-12" disc (*V-LM-1726) $5.72. 

CONTENTS: Slaughter on 10th Avenue (Rod- 
gers); Rodeo — Waltz & Saturday Night Hoedown 
(Copland); Fancy Free — 3 dances (Bernstein); In- 
terplay — Gavotte & The Blues (Gould); Three- 
Cornered Hat — Suite (Falla); Age of Gold — Polka 
(Shostakovitch); Gayne — Sabre Dance (Khatcha- 
turian); Sebastian — Barcarolle (Menotti); Petrou' 
ch\a — Danc£ of the Ballerina & Danse Russe (Stra- 

Arthur Fiedler has chosen a number of well-known 
ballet selections for this unique and fascinating disc. 

• indicates LP 8 *y 3 rpm. 
0 indicates 45 rpm. 




T he N^ze; R ecords 


They are played with fine spirit, and RCA Victor 
has supplied the best of modern reproduction. This 
is certainly a brilliant and stimulating record. 

Chopin — trans. Britten: Les Sylphides. Ballet Thea' 
tre Orchestra conducted by Joseph Levine. MO" 
disc (*CL'L'8194) $3.98. Coupled with Tchai- 
kovsky: Princess Aurora. IT 2" disc (*CL'P' 
8193) $4.98. 

Tchaikovsky: Princess Aurora. Ballet Theatre Or' 
chestra conducted by Joseph Levine. MO" disc 
(*CL'L'8195) $3.98. Coupled with Chopin: 

Les Sylphides. M2" disc (*CL'P'8193) $4.98. 

Bernstein: Fancy Free. Ballet Theatre Orchestra 
conducted by Joseph Levine. MO" disc (*CL'L' 

8197) $3.98. Coupled with Copland: Rodeo. 
M2" disc (*CL'P'8196) $4.98. 

Copland: Rodeo. Ballet Theatre Orchestra con' 
ducted by Joseph Levine. MO" disc (*CL'L' 

8198) $3.98. Coupled with Bernstein: Fancy 
Free. M2" disc (*CL'P'8196) $4.98. 

We are sure that ballet fans will be delighted to 
know that Capitol has secured the services of the 
orchestra of Ballet Theatre and its brilliant conductor, 
Joseph Levine, for these recordings. Thus we are 
assured of performances that are in the authentic 
spirit of the various ballets. As Capitol has supplied 
the best of reproduction, we can recommend these 
recordings without reservation. 

Each ballet is available separately on a 10'inch 
LP disc or the four may be had on two 12'inch 
discs (see listings above). 

Grieg: Symphonic Dances, Op. 64. One side, and 
Grieg: Norwegian Dances, Op. 35. Danish Na' 
tional Orchestra of the State Radio conducted by 
Eric Tuxen. M2"disc (*ME'MG'10132) $4.85. 

Grieg: Peer Gynt Suite No. 2, Op. 55 and Grieg: 
Norwegian Dances, Op. 35. One side, and 
German: Henry VIII Dances and German: 
Welsh Rhapsody. City of Birmingham Orchestra 
conducted by George Weldon. M2" disc (*C' 
RL'3041) $3.08. 

Two moderately priced LP discs containing some 
tuneful music that most anyone may enjoy — nicely 
recorded by two orchestras from abroad which are 
known to Americans through their recordings. 

Elgar: Enigma Variations, Op. 36. Four sides, and 
Brahms: Variations on a Theme by Haydn, Op. 

56a (“St. Antoni Chorale”). NBC Symphony 
Orchestra conducted by Arturo Toscanini. 4*7" 
discs in box (0V'WDM'1725) $5.14. M2" disc 
(*V'LM'1725) $5.72. 

Here is a Toscanini record that we can recom' 
mend without reservation. We are sure that most 
music lovers will agree with us that the present disc 
contains the best recorded versions of these well' 
beloved selections. 


Brahms: Concerto No. 2 in B-flat, Op. 83. Artur 

Rubinstein (piano) with the Boston Symphony 
Orchestra conducted by Charles Munch. 4'7" 
discs in box (0V'WDM'1728) $5.14. M2" disc 
(*V'LM'1728) $5.72. 

Brahms: Concerto No. 2 in B-flat, Op. 83. Monique 
de la Bruchollerie (piano) with the Pro Musica 
Orchestra (Stuttgart) conducted by Rolf Rein' 
hardt. M2" disc (*VX'PL'7950) $5.95. 

The Brahms Second Concerto was reviewed in the 
January TNR in a new version by Backhaus with 
the Vienna Philharmonic under Schuricht (*L'LL' 
628). This recording we found to be the best of the 
available LP's. That makes things difficult with re' 
spect to the present set by Rubinstein and Munch, 
for it is a wonderful performance. When Rubinstein 
appeared for the first time with the Boston Symphony 
at Tanglewood last August, he scored highly when 
he performed this work. It was considered a mem' 
orable interpretation, with authority and grand mu' 
sicianship. RCA Victor lost no time in getting a 
recording by the same forces, which incidentally, 
presents the Boston orchestra in one of its rare roles 
as accompanist. 

We will not bother to repeat or amplify our re' 
marks in the January review concerning this con' 
certo, except to state that it is one of the very great 
works in this form — to many the finest among all 
piano concertos. It is no easy matter to turn out a 
fine performance of the work. The orchestra plays 
a large part in the score, with the piano often sub' 
merged in the fabric as an orchestral instrument. 
The problem of balance in a recording of the work 
is important considering the nature of the score. 

Of the two versions, Backhaus and Rubinstein, 
we cannot state an honest preference for one above 
the other. They are not so similar, but they are both 
beautiful readings. Backhaus is somewhat more di' 
rect and solid; Rubinstein is more mellow and resih 
ient. Both are done in the grand manner with a 
broad, healthy, large'scale approach. And both em 
joy excellent reproduction with good piano tone 
and admirable balance. So far we have not men' 
tioned the Vox disc by Monique de la Bruchollerie. 
She is a gifted pianist, and her performance of the 
Brahms Second is a fine one. It does not, however, 
equal Rubinstein or Backhaus, nor does the accom' 
paniment match the others. The reproduction is 
only a shade under Victor's and London's. One 
thing we did not like in the Vox disc is the business 
near the end of the first movement where piano, or' 
chestra, and reproduction get out of hand and work 
against one another to the point where there is some 
odd'sounding hash. We recommend either Rubin' 
stein or Backhaus as superb examples of how this 
concerto should sound. S. 



* Indicates LP 88^ rpm. 
0 indicates 45 rpm 


The N ew Records 1953 

Stravinsky: Piano Concerto (1923/4). Soulima 
Stravinsky (piano) with the RCA Victor Sym* 
phony Orchestra conducted by Igor Stravinsky. 
Four sides, and Stravinsky: Scherzo a la Russe. 
RCA Victor Symphony Orchestra conducted by 
Igor Stravinsky. One side, and Stravinsky: (2) 
Russian Church Choruses (“Pater noster;'' “Ave 
Maria”). Chorus of Men and Boys conducted by 
Igor Stravinsky. 3 '7" discs in box (0V'WDM' 
7010) $3.99. MO" disc (*V'LM'7010) $4.67. 

A recent LP recording of the Stravinsky Concerto 
by Mewton'Wood (*CH'CHS'l 160) is easily super' 
ceded by the present disc, if for nothing more than 
the unquestioned authenticity of this recording. 
Stravinsky is an excellent conductor and interpreter 
of his own works, and in a composition of this nature 
his version is unquestioned. This concerto was the 
medium through which he made his bow to the gen' 
eral public as a concert pianist, between 1924 and 
1933. After performing it himself more than forty 
times, Stravinsky used it to introduce his son, SviatO' 
slav, to the Parisian public, and now it introduces 
the team of Igor and Soulima Stravinsky on phono' 
graph records. The end movements are biting, closely 
packed, jittery, and percussive, and typical of much 
of Stravinsky's writing. If you like Stravinsky, this 
will appeal you; if you prefer the Grieg and Schu' 
mann concertos in style, stay away from this disc. 
The reproduction is excellent. 

The Scherzo a la Russe is one of a number of 
short, light pieces which Stravinsky composed for 
various American organizations when he first came 
to settle in this country. It was written in 1944 for 
Paul Whiteman's radio orchestra and was later re' 
scored for full symphonic ensemble. It is clever and 

The two Russian Church Choruses are among 
Stravinsky's rare contributions to the literature of 
the unaccompanied choir. Both were originally com' 
posed to texts in Old Slavonic for use in the liturgy 
of the Russian Church, the Pater poster in 1926 
and the Ave Maria in 1934. In 1949 both were re' 
written and adapted to the Latin texts used here. 
They will come as a pleasant surprise to most folks, 
for they are effective, appropriate settings. S. 


Dvorak: Serenade in D minor, Op. 44. London 
Baroque Ensemble conducted by Karl Haas. MO" 
disc (*D'DL'7533) $3.85. 

Karl Haas and his London Baroque Ensemble, 
which has gained fame pretty much throughout the 
world via BBC broadcasts, is now becoming known 
to discerning music lovers in the United States by 
means of Decca records. The present Dvorak Sere' 
nade is quite enticing as played by this unique group 
of seasoned and accomplished players. 

Mozart: Quartet No. 1 in G minor, K. 478. One 
side, and Beethoven: Quartet in E-flat, Op. 16. 

New York Quartet: Mieczyslaw Horszowski 
(piano), Milton Katims (viola), Alexander 
Schneider (violin), Frank Miller (violoncello). 
M2" disc (*C'ML'4627) $5.45. 

Mozart: Quartet No. 19 in C, K. 465. One side, 
and Mozart: Quartet in D minor, K. 421. Vienna 
Konzerthaus Quartet. M2" disc (*WEST'WL' 
5175) $5.95. 

Mozart: Quartet No. 1 in G minor, K. 478. One 
side, and Mozart: Quartet No. 2 in E-flat, K. 
493. Clifford Curzon (piano) with members of 
the Amadeus Quartet. M2" disc (*L'LL'679) 

Mozart: Divertimento No. 10 in F, K. 247. Mem' 
bers of the Vienna Octet. MO" disc (*L'LS'682) 

Mozart: Divertimento in E-flat, K. 563. Bel Arte 
Trio: Ruth Posselt (violin); Joseph DePasquale 
(viola); Samuel Mayes (violoncello). M2" disc 
(*D'DL'9659) $5.85. 

All of this Mozart chamber music is already 
available on LP records, thus we are simply listing 
these discs so that our readers will know that they 
have been released. 

Beethoven: Sonata No. 2 in G minor, Op. 5, No. 2. 
One side, and Beethoven: Sonata No. 3 in A, 
Op. 69. Janos Starker (violoncello) and Abba 
Bogin (piano). M2" disc (*PE'SPL'560) $5.95. 

Beethoven: Sonata No. 1 in F, Op. 5, No. 1 . One 
side, and Beethoven: Sonata No. 4 in C, Op. 
102, No. 1 and Beethoven: Sonata No. 5 in D, 
Op. 102, No. 2. Janos Starker (violoncello) and 
Abba Bogin (piano). 1-12" disc (*PE'SPL'561 ) 

Beethoven: (5) Sonatas for Violoncello and Piano. 

Janos Starker (violoncello) and Abba Bogin 
(piano). 2-1 2" discs in box (*PE'SPL'562) 

Beethoven: Sonata No. 1 in F, Op. 5, No. 1 . One 
side, and Beethoven: Sonata No 2 in G minor, 

Op. 5, No. 2. Antonio Janigro (violoncello) and 
Carlo Zecchi (piano). M2" disc (*WEST'WL' 
5170) $5.95. 

Beethoven: Sonata No. 3 in A, Op. 69. One side, 
and Beethoven: Variations on Mozart’s "Bie 
Mannern Welche Liebe Fuhlen” in E-flat. 

Antonio Janigro (violoncello) and Carlo Zecchi 
(piano). M2" disc (*WEST'WL'5173) $5.95. 

Beethoven: Sonata No. 4 in C, Op. 102, No. 1. 
One side, and Beethoven: Sonata No. 5 in D, 
Op. 102, No. 2. Antonio Janigro (violoncello) 
and Carlo Zecchi (piano). M 2" disc (*WEST' 
WL'5180) $5.95. 

Here we have Beethoven's Sonatas for Violon' 

* Indicate! LP 83 rpm. 
0 indicate* 45 rpm. 




april The N^ze; Records 

cello and Piano played by the Hungarian violon* 
cellist, Janos Starker and the Italian player, Antonio 
Janigro. Each is joined by a very able pianist. We 
have listened to each set very carefully and we can' 
not choose between them. The excellence of both is 
so marked that any choice that we might make 
would not be valid. 

Brahms: Quartet No. 2 in A. Clifford Curzon 
(piano) with members of the Budapest String 
Quartet. M2" disc (*C'ML'4630) $5.45. 
Brahms: Quartet No. 2 in A minor, Op. 51, No. 2. 
One side, and Brahms: Quartet No. 3 in B-flat, 
Op. 67. Curtis String Quartet. M2" disc (WEST' 
WL'5152) $5.95. 

Brahms: Trio in E-flat, Op. 40. Walter Barylli 
(violin), Franz Koch (horn), Franz Holletschek 
(piano). One side, and Brahms: Trio in A 
minor, Op. 114. Franz Kwarda (violoncello), 
Leopold Wlach (clarinet), Franz Holletschek 
(piano). M2" disc (*WEST'WL'5146) $5.95. 
As all of this Brahms chamber music is already 
available on LP records, we will limit ourselves to 
just a listing of these discs with the exception that 
we will call attention to the very excellent recording 
of the Quartet T^o. 2 in A by Clifford Curson 
(piano) and members of the Budapest String Quartet. 
We surely feel that this recording deserves especial 

Bartok: Sonata for Two Pianos and Percussion. 

Gerson Yessin and Raymond Viola (pianos) and 
Elayne Jones and Alfred Howard (percussion). 
One side, and Goeb: Symphony No. 3. Leopold 
Stokowski and His Symphony Orchestra. 4'7" 
discs in box (0V'WDM'1727) $5.14. M2" disc 
(*V'LMT727) $5.72. 

NOTE: For review of this disc see under OR' 

Verdi: Un Ballo in Maschera (complete). (Sung 
in Italian). Maria Caniglia (soprano); Beniamino 
Gigli (tenor); Fedora Barbieri (contralto); Gino 
Bechi (baritone); Chorus and Orchestra of the 
Opera House (Rome) conducted by Tullio Sera' 
fin. 9'7" discs in box (0V'WCT'6OO7) $11.44. 
2' 12" discs in album (*V'LCT'6007) $11.44. 
(This annotation is reprinted from the November 
1947 issue. It appeared in this place when the im' 
ported recording of this wor\ was reviewed .) 

A new, imported, complete Un Ballo in Maschera 
is a notable addition to the growing list of recorded 
operas. The new Ballo is a valuable addition, for 
Verdi’s fine old opera, so typical of his middle period 
as well as being a treasure chest of lovely Verdian 
melodies, deserved the honor of perpetuation in its 
entirety (only one or two short traditional cuts are 
made) on wax. 

Tullio Serafin, remembered for his many distim 
guished performances at the Metropolitan, is the au' 
thoritative and dynamic conductor. With the orches' 
tra of Rome’s Royal Opera House at his disposal, 
his fervor is such that it tends sometimes to cover 
the singers. 

The singers are important artists. Beniamino Gigli 
is the Riccardo. He gives an unusually lyric perform' 
ance of a role that can stand more impassioned and 
dramatic treatment. The famous tenor with the love' 
liest voice since Caruso is beginning to show his 
age in this set. He sings with great care, often spar' 
ingly. The old reckless abandon to the tumult of the 
moment, the ringing prolonged climaxes are no longer 
present. Mr. Gigli moves with obvious caution in 
the superb and very taxing love'duet of the second 
act. Nevertheless, he manages to arrive without mis' 
hap on the final high C with Mme. Caniglia, who 
overwhelms him throughout. The tenor’s laughing 
phrases in the famous Quintet are overdone. One 
has only to listen to Caruso and Bonci’s records of 
this passage to realize that Mr. Gigli’s mirthless 
cackles are not altogether successful. Granting a loss 
of brilliance and sustaining power — the inevitable 
toll of time — Gigli is nevertheless Gigli, a tenor of 
whom we have always expected so much that he 
makes us super'critical. The tenor’s singing is still 
smooth, cleanly phrased and many times of lovely 

Maria Caniglia, the opera’s unfortunate heroine, 
Amelia, falls somewhat short of the great standard 
she set for herself in the Forza del Destino albums. 
Her singing here is notable for its dramatic impact 
and vitality. Her best moment is a superbly sung 
Morro, ma prima in grazia, in which she sustains her 
reputation as Italy’s finest dramatic soprano of the 

Gino Bechi, the Renato, gets off to a slow start. 
His opening aria, Alla vita che t’arride, finds him 
not at ease. During the first two acts his unsteady 
tones have trouble piercing maestro Serfin’s highly' 
geared orchestra. However, in the third act he comes 
into his own with a nobly sung Eri tu? At its best, 
it is a commanding voice. 

There is a full'toned Ulrica in Fedora Barbieri, and 
the music of the joyous little page, Oscar, is fluently 
and brightly sung by Elda Ribetti. Tancredi Pasero 
and Ugo Novelli are properly ponderous as those 
wicked conspirators with the Rover Boys names — 
Sam and Tom. Max de Schauensee 

Rossini: II Barbiere di Siviglia (complete). (Sung 
in Italian). Victoria de los Angeles (mezzo'SO' 
prano), Nicola Monti (tenor), Gino Bechi (bari' 
tone), Nicola Rossi'Lemeni (basso), Milan Sym' 
phony Orchestra and Chorus conducted by Tullio 
Serafin. 3' 1 2" discs in r album (*V'LM'6104) 

Rossini’s fortunately indestructable II Barbiere di 
Siviglia appears this month in its second complete 



Indicates LP 88 Vy rpm 
0 Indicates 45 rpzn. 



The New Records 

LP recording and barely survives the callous treat' 
ment it receives. One has doubts as early as the 
overture wherein Maestro Serafin tips his hand, so 
to speak, for the sparkling prelude is given a “read' 
ing,“ complete with acelerandi, exaggerated crescendi 
and overall general fussiness. One’s fears are allayed 
slightly by the beautiful aubade Ecco ridente in cielo 
but shortly after this delightful bit, Figaro, in the 
person and voice of Gino Bechi comes bouncing in 
and all attempts at a musical performance fly out the 
window. From here on it becomes a musical rat 
race with everyone, with the exception of Miss 
de los Angeles (who is obviously too much of a 
lady for such shenanigans) hooting and hollering 
and acting like a group of rank amateurs. 

Bechi is easily the worst offender. He always is 
singing at top voice, is generally coarse in tonal 
quality and, to be frank, becomes common and 
obnoxious. Sgr. Monti as Almaviva sings well, but 
after his first aria he is overwhelmed and is virtually 
forced to shout in order to be heard. Rossi'Lemeni’s 
performance reminds one of the immortal A1 Lopez’ 
remark describing a young ball player as “good 
field — no hit.’’ As Basilio, Rossi'Lemeni is “good 
sing — no act.’’ Dr. Bartolo’s music is gone over by 
Melchiore Luise in routine fashion, and it does not 
come off. This is surprising in view of his excellent 
Don Pasquale of a few months back. Victoria de 
los Angeles sings like her name but seems a some' 
what vocally mature Rosina. It is always a pleasure 
to hear her, however, and perhaps one can ascribe 
her semi'failure to Serafin’s unfeeling direction. 

Robert Lawrence, writing in the notes for the set, 
states (in a different connection, however) that “not 
many opera singers have a flair for real humor. The 
grimness of their usual assignments is such that on 
buffa nights they incline more to a naive romp than 
to any working discipline.’’ Surely a conductor cele' 
brating his fiftieth anniversary should be able to 
control his singers better — or perhaps he didn’t care? 
In all events the best Barbiere is the Cetra record' 
ing (TNR May ’51). W. 

Wagner: Die Walkiire — Act I (complete). (Sung 
in German). Maria Muller (soprano), Wolfgang 
Windgassen (tenor), Josef Greindl (bass), Wurt' 
temberg State Orchestra conducted by Ferdinand 
Leitner. Three sides, and Wagner: Gotterdam- 
merung — Act II, Scene 3. (Sung in German). 
Josef Greindl (bass) with Chorus of the Bavarian 
State Opera and the Munich Philharmonic Or' 
chestra conducted by Fritz Reiger. 2' 12" discs in 
album (*D'DX'121) $11.70. 

Wagner’s Der Ring des T^ibelungen is astonish' 
ingly poorly represented on records for all its popu' 
larity. And now, with the first act of Die Wal\ure 
being issued by Decca, there are two versions of this 
music but still only scattered excerpts from the other 
operas in the group — none at all from Das Rhein' 
gold . It is a confusing state of affairs and one that 

is difficult to understand 

The present recording is a fine one. Maria Muller 
is a famous Sieglinde and her work will be familiar 
to those attending Metropolitan performances in the 
Twenties and early Thirties. Time has dealt kindly 
with Mme. Muller; aside from a sense of strain on 
high notes, her voice is still youthful and engaging. 
As Sigmund, Wolfgang Windgassen adds to the 
laurels he gained in the complete Parsifal (TNR 
Apr. ’52). This young man is someone to watch, 
for he has a command of style and expression that 
should raise him to the top. His high notes are ring' 
ing and clear, and he has a lower register that many 
tenors would give a lot to possess. The brief portion 
for Hunding is sung in sterling fashion by Josef 
Greindl. Ferdinand Leitner’s direction is at all times 
in good taste — sonorous, exciting and never lacking 
in the necessary drive. 

The odd side is devoted to that portion of Die 
G otter ddmmerung which deals with Hagen’s prepa' 
rations for Gunther’s return. It is one of the few 
passages in Der Ring that makes use of the chorus. 
It is ably sung and well directed. 

The only previous recording on LP of the 
Wal\ure music is the early Victor set with Lehmann, 
Melchior and List. It is a dubbing from 78’s and 
lacks the brilliance and drive of the present set ah 
though it will undoubtedly have its adherents. 

The recording here is excellent throughout, the 
only omission is that of a libretto. There are, how' 
ever, copious notes that make partial amends. W. 

Donizetti: Don Pasquale (complete). (Sung in 
Italian). Alda Noni (soprano); Cesare Valletti, 
Armando Benzi (tenors); Mario Borriello (bari' 
tone); Sesto Bruscantini (basso); Orchestra and 
Chorus of Radio Italiana conducted by Mario 
Rossi. 2' 12" discs in album (*CE'LP'1242) 

Apparently to complete the cycle of three, Cetra 
has issued a recording of Donizetti’s evergreen Don 
Pasquale. The two previous recordings, one by 
Westminster, the other from Urania, both had some 
features that were excellent (TNR Feb. ’53) but 
Cetra, who incidentally has a remarkable list of 
recorded successes, again presents a performance that 
is on a uniformly high level and superior to both its 

Undoubtedly much of the credit for this success 
belongs to Mario Rossi. There is something almost 
uncanny in the manner in which he is able to breathe 
life into a score and inspire his singers to perform 
with style and intelligence. And he has some top' 
flight artists for this recording. Sesto Bruscantini 
manages to top both Corena (no mean job, inciden' 
tally) of the Urania set and Luise of the Westmin' 
ster. He does this, not so much by vocal endowment 
(Corena shades him in this respect) as by imagina' 
tion and expressiveness. Bruscantini’s Don Pasquale 
is human, a half crusty, half humorous old man who 

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PAGE 10 


T he Nw Records 1953 

is completely believable. How much is the singer's 
work and how much is Rossi's direction is hard to 
determine, but it is a splendid example of team work. 
Alda Noni is vocally the best of the recorded Nor' 
inas. She also manages to be real — capricious, 
scheming and loving in turn — it is a fine portrayal. 
Valetti, as povero Ernesto, is properly woebegone 
and lovesick (a difficult condition) and sings with a 
clear lyric tenor that is at once musical and convince 
ing. Dr. Malatesta, in the person of Mario Borri' 
ello, is a veritable tower of strength. 

The charm of this Don Pasquale lies in its com' 
plete naturalness. The asides, the laughter and other 
dramatic, rather than musical effects, are handled 
in superb fashion. This was undoubtedly achieved 
by means of adequate rehearsal, a state of affairs 
so often lacking in present day operatic perform' 
ances. Thus Cetra adds another prize to its already 
long series of successfully recorded Italian operas. 
The extras, in the form of notes and libretto, are 
models of good taste and readability. W. 

Puccini: La Boheme (complete). (Sung in Italian). 
Rosanno Carteri, Elvira Ramella (sopranos); Fer' 
ruccio Tagliavini, Armando Benzi (tenors); 
Giuseppe Taddei, Pier Luigi Latinucci (baritones); 
Cesare Siepi, Piero Poldi, Mario Zorgniotti 
(bassos); Orchestra and Chorus of Radio Italiana 
conducted by Gabriele Santini. 2' 12" discs in 
album (*CE'LP'1237) $11.90. 

Cetra's entry in the Boheme sweepstakes (there 
have been five other entries) is a thoroughbred and, 
to continue the analogy, runs a dead heat with Lon' 
don’s superb performance and recording. 

A first'rate cast has been gathered together headed 
by the beauteous Rosanna Carteri as Mimi; and with 
Ferruccio Tagliavini as ring leader of a group of 
Bohemians that includes Taddei, Siepi and Latinucci, 
the singing, as may well be imagined, is on a high 
level throughout the performance. Miss Carteri 
brings to the role of Mimi a certain dignity, which, 
coupled with the essential pathos of the character, 
makes her delineation of the unhappy girl a note' 
worthy one. Her voice is a clear, lyric soprano, even 
throughout its range; and it is always handled with 
taste and style. Tagliavini, of course, is well known 
to opera lovers in this country, and his Rodolfo is 
good, both vocally and histrionically. The aria Che 
gelida manina is delivered in robust fashion, and the 
duet that concludes the first act is deftly sung by both 
artists, although a high C at the end is indulged in 
for reasons best known to Tagliavini. Taddei and 
Siepi are both superb vocalists and Taddei is also 
an artist. In all fairness, however, it must be stated 
that Seipi’s Vecchia zimara is excellently projected. 
Latinucci, as Schaunard, gives a good account of 
himself and the part. The lesser roles are well per' 
formed and add considerably to the success of the 

Gabriele Santini keeps matters well in hand and 

the resultant performance has verve and polish. Cetra 
has supplied what appears to be the ultimate in lib' 
retti and notes. There are illustrations, drawings, a 
caricature (by Caruso, no less) and pictures of the 
singers, all of which are of absorbing interest and 
add immeasurably to the listener’s enjoyment. W. 

Caruso in Faust. Enrico Caruso (tenor), Geraldine 
Farrar (soprano), Jean Gilibert (mezso'soprano), 
Antonio Scotti (baritone), Marcel Journet (bass) 
with orchestra. 4' 7" discs in box (0V'WCTT 103) 
$5.14. M2" disc (*V'LCT'1103) $5.72. 

It was in the middle of January 1910 that a group 
of the world’s greatest singers converged on the re' 
cording studios in Camden, N. J. The artists were 
Mmes. Farrar and Gilibert and Messrs. Caruso, 
Journet and Scotti — the purpose was to record por' 
tions of the world’s most popular opera, Gounod’s 
Faust. The results of the several recording sessions 
have long been recognized as truly great phono' 
graphic achievements. Certainly there has been very 
little to equal and virtually nothing to surpass the 
magnificent singing that was captured on wax on 
those memorable days. To be sure, the means were 
primitive; but, even so, the greatness of the artistry 
shines through even to this day. The present LP 
disc is a transcription of most of the waxes made at 
that time plus two others; a Salut demeure made in 
1906 and a Jewel Song made in 1913. Neither of 
these items is touched with the magic of the others. 

The record begins with the finale to Act I O 
merveille superbly sung by Caruso and Journet. Then 
come the two excerpts noted above that are some' 
thing of a disappointment. The Salut demeure has 
been better sung on many occasions, notably on rec' 
ords by Martinelli in his incredible performance, 
circa 1920. Miss Farrar’s Jewel Song is capricious 
and arbitrary. Things take a turn for the better with 
an ingenious performance of the garden scene quar' 
tet Seigneur Dieu, wherein Caruso is joined by 
Farrar, Gilibert and Journet — the star of this ex' 
cerpt being the magnificent Journet. The duet 
Laisse'moi, by Farrar and Caruso, sets an unap' 
proachable example of how this impassioned music 
should be sung. The great aria that closes the act 
II maime is sung by Miss Farrar and is indescribably 
beautiful. Journet’s sardonic laughter at the close is 
a touch of genius. The duel trio (Caruso, Scotti 
and Journet) is stirring; especially fine are Caruso’s 
ringing B flats. The final trio as sung by Farrar, 
Caruso and Journet is another tremendous affair — 
far above the efforts of most present day singers. 
One regrets the necessity (if it was necessary) that 
precluded the use of the wonderful opening duet 
of the prison scene M on^coeur est penetre d’epou' 
vante that was recorded at the same time. 4 

Hear these Faust selections in all events and 
promptly be spoiled for subsequent performances by 
other singers. W . 



Indicate* LP 33^ rptn. 
0 indicates 45 rpm. 


The New R ecords 1953 

* Critic’s Choice.” Selected by Irving Kolodin. 4-7" 

discs in box (0V-WCT-1 1 1 5) $5.14. 1-12" disc 
( * V-LCT- 1115) $5.72. 

CONTENTS: Scarlatti: Le Violette (Tito 
Schipa); Handel: Semele — Where'er You Walk 
(Lawrence Tibbett); Handel: Semele— Oh, Sleep! 
Why Dost Thou Leave Me (Dorothy Maynor); 
Mozart: Le J^ozze di Figaro — Venite, Inginocchia- 
tevi (Elisabeth Schumann); Mozart: Le 7s[ozze di 
Figaro— Dove sono (Maria Cebotari); Chopin: Im- 
promptu in A'flat, Op. 29 (Sigrid Onegin); Wolf: 
Kennst du das Land (Kerstin Thorborg); Massenet: 
Herodiade Salome! Salome! (John Charles Thomas); 
Wagner: Lohengrin — In Fernem Land (Richard 
Crooks); Verdi: Falstaff — E sogno? (Leonard War- 
ren); R. Strauss: Ariadne — So war es mit Pagliazzo 
(Maria Ivogun). 

An interesting and, at the same time, an irritat- 
ing disc is Critic s Choice, a group of eleven pieces, 
all of which, with two exceptions, were issued in this 
country during the period 1928-1940. The interest 
lies in the making available of some of the treasures 
buried in RCA Victor’s vaults. The irritation, and 
it is purely personal, is occasioned by the writer’s 
thoughts of what might have been selected — although 
this is the fate of all anthologies. 

It must be stated at the outset that Mr. KolodinV 
selections are all good; the singing is of a superior 
order in each case. Schipa’s record of Scarlatti’s 
Le Violette is breathtaking in its beauty. Surprising, 
in view of his other activities, is the only word for 
Tibbett’s superb vocalizing in the exquisite Where’er 
you wal\. This reviewer never admired Miss May- 
nor s Oh sleep! Why etc. The voice is wonderful 
but the singing seems wooden. Concerning the 
choice of Miss Cebotari's magnificent Dove sono one 
can only add a hearty “Amen!” Not enough credit 
(none in fact) is given Josef Krips for his sensitive 
and inspired direction that contributes so much to 
the surpassingly successful performance. The last 
item on the first side is Mme. Onegin’s performance 
of Chopin’s Impromptu in A Flat. For a critic who 
objects to Schubert orchestrated and Handel arias 
with piano accompaniment, it seems inconsistent to 
include a vocal arrangement of a piano work. Despite 
the amazing vocalizing the selection has virtually 
no musical merit — it is an empty show piece — there 
were far superior Onegin discs, notably the Meyer- 
beer excerpts that show this magnificent singer in 
her true musical and artistic stature. 

Side two opens with Kirsten Thorborg singing a 
Wolf song, Kennst du das Land. It is, of course, 
sung to perfection. John Charles Thomas always 
impressed this reviewer as having one of the finest 
voices of all time but so often he lacked imagination 
(and at times good taste). He was happiest in the 
French repertoire and the excerpt from Herodiade 
is one of his better efforts — hardly immortal, how- 
ever. The selection of Crook’s In fernem Land seems 

arbitrary — ditto Warren’s Falstaff excerpt. The 
Strauss Ariadne aria by Maria Ivogun is a dazzling 
display of vocal pyrotechnics. Her art and ability 
could, one feels, have been expended in a more 
profitable direction. 

The quality of the disc is very good considering 
the age of the originals; the surface noise is very low. 


Puccini: Madama Butterfly (abridged). (Sung in 
Italian). Toti dal Monte (soprano), Beniamino 
Gigli (tenor), Mario Basiola (baritone), Orches- 
tra and Chorus of the Royal Opera House (Rome) 
conducted by Oliviero de Fabritiis. 9-7" discs in 
box (0V-WCT-6OO6) $11.44. 2-12" discs in 

album (*V-LCT-6006) $11.44. 

One of the really fine operatic performances re- 
corded on 78 rpm discs was the dal Monte — Gigli 
collaboration on Puccini’s Madama Butterfly. The 
original recording dates from 1939/40 and both 
artists were at the height of their powers. Miss dal 
Monte’s Cio-Cio-San has been extravagantly admired 
in some quarters, but this corner has always felt 
her delineation was a bit too fragile; however, a re- 
hearing on these well engineered LP’s was quite im- 
pressive. There is a clarity and a pathos about her 
performance that is very persuasive. Gigli, of course, 
is Gigli — the liquid, velvety voiced tenor. In this 
role he suppresses his occasional tendencies to gulp 
and sob with the result that his B. F. Pinkerton is 
a superior characterization. The third member, Mario 
Basiola does very well as the consul, Sharpless. The 
direction by Oliviero de Fabritiis is relaxed at all 
times and is a model of good taste and judgement. 

Comparisons of this performance and the two 
other recorded versions offer a bit of a problem. 
Insofar as recorded sound is concerned, obviously 
the London recording (TNR Apr. ’52) is tops. In 
addition, Renata Tebaldi is a superb Butterfly; but 
Campora is definitely no Gigli. There is a further 
complication — the Victor set is cut (admittedly) and 
is contained on two records, the London takes three, 
as does the Columbia set with Steber and Tucker. 
In order of preference then, this reviewer would 
choose the present version with the London a close 
second. It is, in all events, a difficult choice because 
of Tebaldi and superb ffrr sound on one hand and 
Gigla and dal Monte on the other. Perhaps one 
should buy both? W. 

Gluck: Iphigenia in Tauris (complete). (Sung in 
French). Patricia Neway (soprano), Leopold 
Simoneau (tenor), Pierre Mollet (baritone), Rob' 
ert Massard (bass) with chorus and Paris Conserva- 
tory Orchestra conducted by Carlo Maria Giulini. 
2-12" discs in album (*VX-PL-7822) $11.90. 

An interesting operatic first recording is issued 
this month by Vox. Gluck’s I phi genie en Tauride 
will be new to most music lovers and for this fact 
alone will command considerable interest. The opera 
was the last in the fireworks that attended the 

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The New Records 


famous Piccini'Gluck feud. Both composers were 
given the same libretto to set and Gluck finished his 
score two years before his rival. In addition, a little 
ridicule aided Gluck for when Piccini’s version 
finally reached the stage the leading lady was visibly 
drunk. This caused one writer to observe that this 
was not “Iphigenie en Tauride but Iphigenie en 
Champagne." That apparently did it, as the saying 
goes, and the feud died of old age. 

The cast for this recording is only fair. Miss 
Neway is a wooden Iphigenie. Perhaps some of the 
lack of color in her performance comes from a lack 
of understanding of the style. There are few singers 
today who are able to sing this music adequately. 
She is vocally competent but so much more is re' 
quired for a good performance — and, unfortunately, 
a good voice and excellent method are all Miss 
Neway is able to bring to her task. The three men, 
listed variously as tenor, baritone and bass all sound 
like tenors. Of these, Leopold Simoneau is the best. 
He delivers the music of Orestes with considerable 
dramatic force, rolling his R’s and embodying a 
good deal of expression in the part. His aria, Dieux 
qui me poursuivez is a fine job, indeed. Pierre 
Mollet sings Pylade in a more than adequate manner 
but one is hard put to think of M. Mollet as a 
baritone. As King Thoas, Robert Massard is color' 
less, mechanical and certainly no bass. Maestro Giulini 
and the Paris Conservatory Orchestra play well and 
imbue the performance with much of its life. 

The music throughout the opera is good. It is 
typical of the composer and is, in fact, one of his 
best scores. This recording should serve to familiar' 
ize many with the music, which has a grandeur and 
eloquence that are quite unique. The extravagant 
language is matched in the music and the whole is 
a real musical experience. 

Unfortunately Vox had an attack of niggardliness 
and have come up with one of the poorest libretti 
this reviewer has ever seen. It is a miserable photo' 
stat, has very fine print and boasts of such a “free" 
translation that a note is included advising that “the 
English version is not an exact translation from the 
French." There are no notes. W. 

Rimsky-Korsakov: May Night (complete). (Sung 
in Russian). Irina Maslennikova (soprano), Val' 
entina Borisenko (mezzo'soprano), Serge Lemeshev 
(tenor), Serge Krasovsky (bass), Chorus and 
Orchestra of the Bolshoi Opera conducted by 
Vassily Nebolsin. 3' 12" discs in album (*VAN' 
VRS'6006/8) $18.50. 

A bit of real curiosa has been issued by Vanguard — 
the rara avis in this instance being Rimsky'Korsakov’s 
melodious opera May T^ight. The first performance 
of the work was at the famous Maryinsky Theatre at 
St. Petersburg in January 1880. Apparently it failed 
to please, for it was soon withdrawn and did not 
reappear until fourteen years later, this time in 
Prague. It returned to Russia, by way of a per' 

formance in 1898 in Moscow, where it now holds 
the stage by virtue of its piquant orchestration and 
graceful melodies. 

The story is not characteristically Russian, being 
happy and somewhat humorous. The plot is a slight 
one, based on one of Gogol’s Malo'Russian tales, 
and need not be repeated here. The cast for the per' 
formance contains only one familiar name, that of 
Serge Lemeshev. Lemeshev is a veteran tenor who 
sings the role of Levko, the hero. His sweetheart 
Gonna, is sung by Valentina Borisenko. Both sing' 
ers are only average, but neither very good nor very 
bad. Lemeshev’s voice is limited in range and his 
top notes are forced. Borisenko is a mezzo, rather 
light, but not unpleasant. Gulova, the third princi' 
pal, is sung by Serge Krasovsky, a basso of limited 
capabilities who, nonetheless, makes the most of his 
opportunities. Others in the cast are generally ade' 
quate with perhaps special mention for Peter Valo' 
vov’s fine work as the village lush, Kalnick. 

The main interest attaches to the music, and the 
interest lies primarily in its novelty. How it will 
wear is largely a matter of personal taste, this corner 
being of the opinion that one hearing will suffice for 
some time. 

The performance is a sprightly one, moving along 
with spirit and genuine musical feeling. It is light 
weight, however, and relatively undistinguished — 
indeed, in these respects, it is typical of its com' 
poser. Vanguard has done an excellent job in re' 
furbishing the original tapes and the recording is free 
of the rattles and buzzes that are characteristic of 
Soviet techniques. An English libretto is furnished. 



Farnaby: Canzonets. Oriana Singers conducted by 
Charles M. Hobbs. One side, and Farnaby: 
Virginals Music. Blanche Winogron (virginals). 
M2" disc (*EMS'5) $5.95. 

Monteverdi Selections. Vocal and Instrumental En' 
semble directed by Nadia Boulanger. M2" disc 
(*D'DL'9627) $5.85. 

French Renaissance Vocal Music. Vocal and In' 
strumental Ensemble directed by Nadia Boulanger. 
M2" disc (*D'DL'9629) $5.85. 

One side of this first recording of the music of 
Farnaby (1560' 1600) contains works for the vir' 
ginals, the simplest and oldest form of stringed 
keyboard instrument, and the other contains can' 
zonets (in this instance a misnomer for madrigals). 
Farnaby, who apparently ranks with Byrd and 
Gibbons as a composer, does not find the happiest 
expression for his virginals music in Blanche Wino' 
gron. Her rather confused, hesitant style shows in' 
sufficient mastery of her instrument. Indeed, her 
chief contribution to Farnaby’s art might well have 
been achieved by playing the sonatas of Bach. The 
vocal side of this record is quite professional and 

PAGE 13 


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0 Indicates 45 rpm 


The Nw Records 


is in the best madrigal tradition. Reproduction is 

Mme. Boulanger gives us a Monteverdi devoid 
of almost all authenticity, a Monteverdi who is in 
parts more to be compared with Rossini than with 
Byrd. All severity and purity of the melodic lines 
and balance of parts is absent, for the soloists seem 
not to respect the requirements of the madrigal. 

The results she achieves with French Renaissance 
music are somewhat more successful, providing in 
that recording a wholesome mediocrity. We think 
the Lady doth molest too much. C. 


Martyn Green’s Gilbert and Sullivan. Martyn Green 
(baritone) with Columbia Operetta Chorus and 
Orchestra conducted by Lehman Engel. IT 2" 
disc (*C'ML'4643) $5.45. 

CONTENTS: A Modern Major'General (‘‘Pirates 
of Penzance"); When I Was a Lad (‘‘H.M.S. Pina' 
fore”); I’ve Jibe and ]o\e, I Have a Song to Sing, 
Oh! A Private Buffoon (“Yeoman of the Guard”); 
The Flowers that Bloom in the Spring, There Is 
Beauty in the Bellow of the Blast (with Ella Hah 
man), T’ve Got a Little List, Tit'willow (“The 
Mikado”); If You Give Me Tour Attention, When' 
e'er I Spo\e (“Princess Ida”); Am I Alone (“Pa' 
tience”); When I Went to the Bar, The Law is 
True, The Nightmare Song (“Iolanthe”); The 
Judge's Song (“Trial By Jury”). 

For those whose tastes in Gilbert and Sullivan 
do not run to complete operettas, here is a delightful 
collection of many of the patter songs rendered by 
the incomparable Martyn Green. Mr. Green does 
not make the common mistake of singing these 
numbers at break'neck speed; thus, all the words 
are readily understandable. The reproduction on this 
LP disc is excellent. 

Millocker: Der Bettelstudent. (Sung in German). 
Viennese Light Opera Company conducted by 

Robert Stolz. M2" disc (*PE'RL'1901) $5.95. 
Stolz: Zwei Herzen im Drei Viertel Takt. (Sung 
in German). Viennese Light Opera Company 
conducted by Robert Stolz. M2" disc (*PE'RL' 
1902) $5.95. 

O. Straus: A Waltz Dream. (Sung in German). 
Viennese Light Opera Company conducted by 

Oscar Straus. M2" disc (*PE'RL'1903) $5.95. 

O. Straus: The Last Waltz. (Sung in German). 
Viennese Light Opera Company conducted by 

Oscar Straus. M2" disc (*PE'RL'1904) $5.95. 
We are sorry to say that these are but routine 
performances of these popular Viennese operettas. 
The reproduction is certainly substandard; this is 
particularly noticeable in the recording of the or' 
chestra and the chorus — the solo voices come through 
fairly well. It may be that you are sufficiently inter' 

ested in having a nearly complete rendition of these 
operettas to overlook the shortcomings of these re' 
cordings; however, we suggest that you listen before 
you buy. 


Beethoven: Sonata No. 23 in F minor, Op. 57 

(“Appassionata”). One side, and Beethoven: 
Sonata No. 2 in A, Op. 2, No. 2. Robert Casa' 
desus (piano). M2" disc (*C'ML'4622) $5.45. 

Beethoven: Sonata No. 17 in D minor, Op. 31, 

No. 2 (“The Tempest”). One side, and Beetho- 
ven: Sonata No. 3 in C, Op. 2, No. 3. Wilhelm 
Backhaus (piano). M2" disc (*L'LL'627) $5.95. 

Beethoven: (33) Variations on a Waltz by Dia- 
belli, Op. 120. Mieczyslaw Horszowski (piano). 
M2" disc (*VX'PL'7730) $5.95. 

Of course, there are a number of other recordings 
of the Beethoven Sonatas played by Casadesus and 
Backhaus. However, admirers of these two great 
pianists will doubtless be glad to learn that their 
versions are now available. ... Of particular inter' 
est is the first LP recording of Beethoven's famous 
Diabelli Variations which the great musicologist, Don' 
aid Tovey, has called “the greatest set of variations 
ever written.” We are glad to report that Hors' 
zowski does a fine job and that Vox has supplied 
excellent reproduction. 

Maryla Jonas Plays Piano Miniatures. Maryla 
Jonas (piano). M2" disc (*C'ML'4624) $5.45. 
CONTENTS: Passacaglia in G minor (Handel); 
Turkish March (Mozart); Serenade (Schubert); 
Music Box (Nicholas); Music Box Lullaby (Thom' 
son); Capriccio (W. F. Bach); Song Without Words 
No. 4 in G minor, Op. 102 and Song Without 
Words No. 1 in C, Op. 62 (Mendelssohn); Con' 
solution, Op. 62 (Dussek); Bolero and Gallop 

A group of delightful little keyboard pieces will 
be found on this attractive LP disc superbly played 
by Maryla Jonas and faithfully recorded by Columbia. 

Schubert: (4) Impromptus, Op. 90. One side, and 
Schubert: (4) Impromptus, Op. 142. Robert 
Goldsand (piano). M2" disc (*CH'CHS'1146) 

Schubert: Sonata in A, Op. 120. One side, and 
Schubert: Moments Musicaux, Op. 94. Robert 
Goldsand (piano). M2" disc (*CH'CHS'l 148) 

All of this Schubert keyboard music is already 
available, and thus we are simply listing these discs 
so that our readers will know that they have been 

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T he N ew Records 


Ives: Sonata No. 1 (1902-1909). William Masselos 
(piano). M2" disc (*C'ML'4490) $5.45. 

Those interested in music of our own country 
will be delighted to know that there is now avail' 
able an excellent recording of Charles Ives’ first 
sonata which dates from (1902' 1909). This unique 
work by “the most American of our American com' 
posers” is played with authority and a fine sense of 
feeling by the very accomplished pianist, William 


Bach Festival. E. Power Biggs (organ) with Roger 
Voisin, Armando Ghitalla, Marcel LaFosse (trum' 
pets); Jacob Raichman, Josef Orosz (trombones); 
Ernst Panenka (bassoon); Roman Szulc (timpani). 
M2" disc (*C'ML'4635) $5.45. 

CONTENTS: Cantata No. 79 — Now Thank We 
All Our God; W eihnachtS'Oratorium — Good News 
from Heaven (3 versions); Cantata No. 140 (“Sleep' 
ers, Awake!”) (2 versions); How Brightly Shines 
the Morning Star (brass quartet) (2 versions); 
Anna Magdalene N otehoo \ — Deal with Me, Father, 
As Thou Wiliest. To Thee, Jehova, Do We Sing 
(brass quartet); (3) Wedding Chorales (“What 
God Hath Done Is Rightly Done”) (“Now There' 
fore Bless the Lord of All”) (“Now Thank We 
All Our God”); (3) Concerted Chorales (“To 
Thee Alone Be Glory”) (“Praise to the Lord, the 
Almighty”) (“Praise God from Whom All Blessings 
Flow”); (5) Chorales (“Deck Thyself, O Soul, with 
Gladness”) (“My Heart Is Ever Yearning”) (“All 
Glory, Laud and Honor”) (“What God Doth, That 
Alone is Right”) (“Now All the Woods are 
Sleeping”) (“A Mighty Fortress Is Our God” — 
2 versions) (Bach). Chorale Prelude for Trumpet 
and Organ (Krebs). When Adam Fell (Homilius). 

The distinguished organist E. Power Biggs with 
assisting artists gives us on this fine LP disc some 
glorious Bach music with the addition of two selec' 
tions by two of Bach’s favorite pupils Ludwig Krebs 
(Chorale Prelude for Trumpet and Organ) and 
Gottfried August Homilius (When Adam Fell — 
trumpet solo with organ). This truly inspiring music 
has been most faithfully recorded by Columbia and 
thus those interested in music of this character will 
find this record one of unique excellence. 

French Baroque Organ Music. Clarence Watters, 
playing the organ in St. John’s Church, West 
Hartford (Conn.). 2' 12" discs in album (*CLAS' 
SIC'CE'1008) $11.90. 

While the progress of recorded music marches on, 
or rather galops on since the LP renaissance, it has 
swept with it previously dormant types of recorded 
music, notably organ music. The present series 
being recorded by Clarence Watters will culminate 
in a survey of the French school of organ composition 

that would be nearly impossible to hear except on 
records. Watters, one of our greatest living per' 
formers of French organ music, covers the field from 
the early examples right through the contemporary 
scene. And these are not trifling samples, but rather 
generous helpings which give a complete and satis' 
fying view of this great music. 

The present album is as carefully chosen as it is 
beautifully executed. The composers represented are 
Clerambault, Dandrieu, Marchand, DuMage, Fran' 
cois Couperin, Siret, Le Begue (five selections), 
Jullien, Raison, Loeillet, Balbastre, and D’Aquin. 
Watters plays five of the D’Aquin Noels complete: 
Nos. 1, 3, 9, 10, and 12, which include the famous 
“Sur les Flutes” and “Grand Jeu et Duo.” All of 
the selections are chosen from the best examples of 
the works of these masters. Watters plays this music 
superbly; it would be hard to imagine better rendi' 
tions. The organ used is an Austin designed by Rich' 
ard Piper and is one of the finest sounding Baroque 
jobs yet to reach records. It often sounds like the 
famous Silbermanns, and must be one of the finest 
of present day Baroque organs. The reproduction 
is excellent in range and balance and particularly in 
clarity. This set has our highest recommendation, and 
we believe many music lovers other than dyed'in'the' 
wool organists will find it highly enjoyable. S. 


Bach: (6) French Suites. Fernando Valenti (harpsi' 
chord). 3' 12" discs in album (*WEST'WAL' 
310) $18.50. 

This is unquestionably a connoisseur’s item. If 
one can enjoy and thoroughly appreciate these suites 
for harpsichord he can validly claim to be a Bach 
student and indeed a musical intellectual. Those in 
that class will find that this music has been superbly 
played by the distinguished harpsichordist, Fernando 
Valenti, and that it has been recorded with rare 
fidelity by Westminster. 

We might mention that a very nicely printed 
booklet containing the miniature scores of the six 
suites is included with this set of records. 


International Folk Music Festival (“International 
Musical Eisteddfod”). Recorded at Llangollen, 
North Wales (July 1952) under the auspices of 
the International Music Council (UNESCO), 
with Jack Bornoff (narrator). 2' 12" discs in 
album (*WEST'WAL'209) $11.90. 

As we listened to the present recording we be' 
came so enthusiastic that vje had the urge to write a 
lengthy article about it. However, we realize that 
its appeal will be limited, and thus with space at a 
premium we must make our remarks as brief as pos' 
sible. If we can whet the appetites of those who 

• IzKttettw LP 8 rpm. 
0 Indlofa 40 rpm. 

PAGE 15 



T he N^ze; Records 


might be interested sufficiently to have them investi' 
gate this unique recording we will have accomplished 
our purpose. 

This recording was made under the auspices of the 
International Music Council (UNESCO) at the In' 
ternational Musical Eisteddfod held at Llangollen, in 
Wales during July 1952. The narrator is Jack 
Bornoff, the Executive Secretary of the International 
Music Council, and his highly intelligent and ilium' 
diating remarks from time to time as the recording 
proceeds make one feel that he is actually at the 
Eisteddfod with the gay crowds who are so thor' 
oughly enjoying the festival. Mr. Bornoff has sup' 
plied excellent notes that give a brief history of 
these ancient Welsh music festivals with special em' 
phasis on their importance in the present work of 
the International Music Council in implementing 
the Universal Declaration of Human Rights for 
men "freely to participate in the cultural life of the 
community and to enjoy the arts." Mr. Bornoff 
carefully identifies each selection heard on these 
records in his notes with an interesting fact or two 
about them. 

Competing groups of singers and dancers from 
over a dozen countries of the world including the 
United States came to Llangollen last summer for 
this great international folk music and dance fes' 
tival. To study Mr. Bornoff’s notes and listen to 
these recordings might very well constitute a short 
course, a very short one, in the folk music of Europe 
and the British Isles — the vast majority of the con' 
testants came from that territory. 

This review isn’t brief enough but we did wish 
our readers to know something of this outstanding 
recording in the field of musical folklore. R. 

El Pili (Flamenco music). Pedro Jimenez (cantaor) 

and Mario Escudero and Alberto Velez (Flamenco 

guitars). MO" disc (*ESO'ES'2001) $4.85. 

This is one of the finest examples of Flamenco 
music available today, both from the standpoints of 
performance and of reproduction. The disc derives 
its title, "El Pili,” from the professional name of 
the singer (or cantaor), Pedro Jiminez, well known 
to Flamenco aficionados as a member of "Los Cha' 
valillos Sevillanos," now on world tour. Alberto 
Velez is also a member of this troupe. Mario Es' 
cudero, who has been called the "virtuoso of the 
Flamenco guitar," has just concluded a season with 
the well'known Carmen Amaya in Paris and is now 
on tour with her. 

The impeccable guitar playing on this disc must 
be heard to be believed! "El Pili’s" incantations fairly 
breathe the Flamencan spirit. As mentioned above, 
the reproduction is superb. Flamencan collectors and 
students of the classical guitar should not miss this 


The World’s Encyclopaedia of Recorded 
Music. By Francis F. Clough and G. J. 
Cuming. 890 pp. Sidgwick and Jackson, 
Ltd. (London). Price $17.50. 

The Hew Catalogue of Historical Records 
1 898*1 908/09. Compiled by Robert Bauer. 
494 pp. Published in England. For sale in 
U. S. A. by H. Royer Smith Co. (PhiladeL 
phia). Price $7.25. 

The Gramophone Shop Encyclopedia of Re * 
corded Music (Third Edition) . Robert H. 
Reid, Supervising Editor, 639 pp. Crown 
Publishers (New York). Price $2.95. 

The Victor Boo\ of Operas. Revised and edited 
by Louis Biancolli and Robert Bagar. 
xxiv+596 pp. Illustrated. Simon and 
Schuster (New York). Price $3.95. 

Victor Boo\ of Concertos. By Abraham Veinui. 
xxv + 450 pp. Simon and Schuster (New 
York). Price $3.95* 

Collectors’ Guide to American Recordings 
1895*1925. By Julian Morton Moees. 
Foreword by Giuseppe l>e Luca. 200 pp. 
Published by the author. Price $3.75. 

I Hear You Calling Me. By Lily McCormack. 
201 pp. Illustrated. The Bruce Publishing 
Co. (Milwaukee). Price $2.75. 

Records: 1950 Edition. By David (Hall, ix *-f- 
524 + xx pps. Alfred A. Knopf (New 
York). Price $6. 

NOTE: All the above books have been reviewed 
in previous issues of The Hew Records. If your local 
dealer does not stock them, orders addressed to H. 
Royer Smith Co., Philadelphia 7, Pa., will be promptly 
filled. The prices quoted include postage to any point 
within U.S.A. 

The first tetters In the record number Indicate the manufacturer: BG — Bach Guild, BL — Bibletone C Columbia CE Cetr* PH rnnr*rt 

?OL K !! C E l t e h^, C E L nTL r CaPlt0, l 1K CSM -Co'osseum, CRS — Collector’s Record Shop D-DeecT ^ 

phnrri K L l brary .’ G JP A'T'Gregorlan Institute of America, HS — Hadyn Society, L — London Gramophone, LYR— Lyrl- 

chord, ME Mercury, OC— Oceanic, OL— L Olseau Lyre, PE— Period, PH M— Phllharmonla PLM— Polvmuslc rfn Rmnittnnm oat 
Sounds of Our Tim... STR Stradivari, UR-Umnli V-Vl.t.r, VAN-V.nau^d VX-^ 80T 

• Indicates LP 88J^ rpm. 
Indicates 45 rpm.' 


PAGE 16 

The N« Records 



Issued Monthly by 


“The World’s Record Shop ” 


VOL 21, NO. 3 

B IRD lovers attention! Here is a perfectly 
fascinating LP record recently released by 
the Cornell University Press. It is called Music 
and Bird Songs: Sounds from nature with 
commentary and analysis. It is a KMnch LP 
disc, and the price is $5. 

This recording was prepared by James H. 
Fassett, Supervisor of Music for CBS, and Pro' 
fessor P. P. Kellogg, Associate Professor of 
Ornithology at Cornell University. These gen' 
tlemen selected a number of recordings of birds, 
frogs and toads from the huge collection of 
such recordings in the Laboratory of Ornith' 
ology at Cornell University; and Mr. Fassett 
prepared a most interesting and illuminating 
commentary. In the course of his commentary 
Mr. Fassett introduces the various bird and 
animal recordings and, after playing them just 
as they were heard in the woods and fields, he 
analyzes them by reducing the speed to one' 
half and one'quarter; thus each of the many 
notes that make up the calls and songs may be 
identified. To us this was one of the most 
fascinating features of this unique record. 

As this record will have a quite limited 
appeal, not many record shops will stock it. 
If your local dealer cannot supply it, orders 
sent direct to the publishers of The New 
Records will be promptly filled. Just request 
Music and Bird Songs (Cornell University 
Press) — Price $5. 

* * * 

Occasionally, every few years — every dec' 
ade, perhaps — there occurs a recording so 
excellent that it is immediately recognized 
as a rare and priceless masterpiece. Arturo 
Toscanini has just given us a recording of the 
nine Beethoven Symphonies; since these sym' 
phonies are considered to be the greatest se' 
quence of orchestral compositions, and since 
Maestro Toscanini is thought by many to be 
one of the outstanding interpreters of Beetho' 

$1 per year 

ven, we feel that here is just such a master' 
piece, in limited edition. 

RCA Victor has spared no effort to present 
an attractive edition. The album contains 7' 12" 
discs and has padded covers of simulated 
leather; imbedded in the front cover (but re' 
movable) is a bronze facsimile of a medal 
presented to Toscanini in 1916 by the members 
of the Orchestra of Turin, depicting the Maes' 
tro’s profile on one side, and containing a 
facsimile of his signature on the reverse. Twen' 
ty'two pages are bound into the album; on these 
pages, in addition to interesting photographs 
of various incidents in Toscanini’s life, may be 
found: a biography of the conductor; a cri' 
tique entitled “Beethoven and Toscanini” by 
Samuel Chotzinoff; a brief history of the NBC 
Symphony; dates of the present recordings; 
and program notes on each of the symphonies. 

Three of the symphonies (the First, Third 
and Ninth) contained in this edition are ah 
ready available in the Victor catalog; this fact 
in no way detracts, however, from the desir' 
ability of this limited (4,000 copies) edition; 
the owner of a numbered set of these record' 
ings will have an item to enjoy and to be 
proud of for as long as he is interested in 
record collecting. 

Those interested should place their orders 
with their dealers promptly. RCA Victor Set 
*V'LM'6900; price $52.40. 

* * * * 

We have received the announcement from 
RCA Victor that it has combined its “Music 
America Loves Best” catalog and its “Request” 
catalog into one general catalog to be called 
the RCA Victor Catalog. It contains listings 
of all RCA Victor records presently available. 

Also just published by RCA Victor is its 
Educational Catalog, the first such catalog to 
be issued in many years. It contains listings 
of basic graded libraries for elementary schools. 

MAY, 1953 


Tj he Records 


records for children of preschool ages, records 
aimed at interesting children in classical music, 
folk dances, international music, and so on. 

Available, too, is the 1952/3 "His Master’s 
Voice” (English — 78 rpm only) catalog, which 
will be of interest to collectors of imported 

Any of these catalogs may be ordered from 
the publishers of this bulletin. The RCA Vic- 
tor General Catalog (488 pp.) is 50c; the 
Educational Catalog (90 pp.) is 20c; and the 
HMV catalog (523 pp.) is 50c. These prices 
include postage to any point in U. S. A. 


We are continually receiving requests for 
back copies of The New Records. Most of 
the issues published during the last twenty 
years are available. The price is 10c each. A 
file of all of the available issues (at least 140 
copies) is $5. These prices are postpaid within 

NOTE: Those persons interested in recent 
recordings only may secure all of the issues of 
the last three years beginning May 1950 (36 
copies) at the special price of $2 (postpaid 
within U. S. A.). 


Mascagni: Cavalleria Rusticana (complete). Solo' 
ists, Chorus and Orchestra of CETRA conducted 
by Arturo Basile. Three sides, and Leoncavallo: 
I Pagliacci (complete). Soloists, EIAR Chorus and 
Orchestra conducted by Alfredo Simonetto. 3' 12" 
discs in album (*CE'LP'1233) $17.85. (TNR 
Aug. '52 & Dec. ’51). 

Dvorak: Slavonic Dances, Op. 72 (complete). Czech 
Philharmonic Orchestra conducted by Vaclav 
Talich. M2" disc (*UR'URLP'7079) $5.95. 
(TNR Apr. ’53). 


Our studio has been flooded with releases of over' 
tures, waltzes and the like recently released by sev' 
eral manufacturers. Due to severe space limitations 
we cannot consider each issue separately; but be' 
cause we feel that many of our readers would like 
to know of the release of these extremely popular 
items, we are listing them below. 

Strauss: Roses from the South, Op. 388. RIAS 

Symphony Orchestra conducted by Ferenc Fricsay. 
One side, and Strauss: Wine, Women and Song, 
Op. 333. Wurttemberg State Orchestra conducted 
by Ferdinand Leitner. M0" disc (*D-DL'4042) 

Verdi: Sicilian Vespers — Overture. RIAS Sym' 
phony Orchestra conducted by Ferenc Fricsay. 
One side, and Boieldieu: Caliph of Bagdad — 
Overture. And Adam: Si J’Etais Roi — Overture. 
Bamberg Symphony Orchestra conducted by Fritz 
Lehmann. M0" disc (*D'DL'4046) $2.50. 

Brahms: Academic Festival Overture, Op. 80. Ber' 
lin Philharmonic Orchestra conducted by Paul van 
Kempen. One side, and Brahms: Tragic Over- 
ture, Op. 81. Berlin Philharmonic Orchestra con' 
ducted by Fritz Lehmann. M0" disc (*D-DL' 
4048) $2.50. 

Beethoven: Fidelio — Overture. Bamberg Symphony 
Orchestra conducted by Ferdinand Leitner. One 
side, and Beethoven: Ruins of Athens — Overture. 
And Beethoven: Prometheus Overture, Op. 43. 
Munich Philharmonic Orchestra conducted by 
Fritz Reiger. M0" disc (*D'DL'4047) $2.50. 

Dvorak: Carnaval Overture, Op. 92. One side, and 
Berlioz: Beatrice and Benedict — Overture. N. Y. 
Stadium Concerts Symphony Orchestra conducted 
by Alexander Smallens. M0" disc (*D-DL-4034) 

Wagner: Die Walkiire — Ride of the Valkyries. 
Wurttemberg State Orchestra conducted by Fer- 
dinand Leitner. One side, and Wagner: Lohengrin 
— Prelude to Act I. And Wagner: Lohengrin — 
Prelude to Act III. Berlin Philharmonic Orches' 
tra conducted by Eugen Jochum. M0" disc 
(*D-DL'4030) $2.50. 

Wagner: Die Meistersinger — Prelude. One side, 
and Wagner: Die Meistersinger — Dance of the 
Apprentices. And Wagner: Die Meistersinger — 
Entrance of the Meistersinger. Wurttemberg 
State Orchestra conducted by Ferdinand Leitner. 
M0" disc (*D'DL'4037) $2.50. 

Wagner: Tristan und Isolde — Prelude and Love 
Death. Wiittemberg State Orchestra conducted 
by Ferdinand Leitner. M0" disc (*D-DL'4038) 

Mozart: Cosi Fan Tutte — Overture. And Mozart: 
Don Giovanni — Overture. One side, and Mozart: 
Magic Flute — Overture. And Mozart: La 
Clemenza di Tito — Overture. Berlin Philhar' 
monic Orchestra conducted by Fritz Lehmann. 
M0" disc (*D'DL'4035) $2.50. 

Mozart: II Seraglio — Overture. And Mozart: Le 
Nozze di Figaro — Overture. One side, and 
Mozart: Idomeneo — Overture. And Mozart: Der 
Schauspieldirektor — Overture. Berlin Philhar' 
monic Orchestra conducted by Fritz Lehmann. 
M0" disc (*D'DL'4036) $2.50. 

Bizet: Carmen — Suite No. 1. One side, and Bizet: 
Carmen — Suite No. 2. N. Y. Stadium Concerts 
Symphony Orchestra conducted by Salvatore dell’ 
Isola. M0" disc (*D-DL'4029) $2.50. 

• Indies tea LP 88 rpm. 
g indicates 45 rpm. 



may The New Records 1953 

R. Strauss: Salome — Dance of the Seven Veils. One 
side, and R. Strauss: Der Rosenkavalier — Waltz. 
N. Y. Stadium Concerts Symphony Orchestra con* 
ducted by Alexander Smallens. DIO" disc (*D- 
DL-4032) $2.50. 

(7) Operatic Intermezzi. Philharmonia Orchestra 
conducted by Wilhelm Schuechter. DIO" disc 
(♦MGM-E-131) $3. 

CONTENTS: Cavalleria Rusticana; Pagliacci; 
Carmen, Act 2; Carmen, Act 4; I Quattro Rusteghi; 
L'Amico Fritz; Jewels of the Madonna, Act 3. 

Wagner: Die Feen — Overture. And Wagner: Das 
Liebesverbot — Overture. One side, and Wagner: 
Rienzi — Overture. And Wagner: Der fliegende 
Hollander — Overture. D12" disc (*UR-URLP- 
7069) $5.95. 

Mozart: Les Petits Riens — Ballet Music. One side, 
and Mozart: (6) Overtures. Stuttgart Tonstudio 
Orchestra. D12" disc (*PE-SPL-559) $5.95. 
CONTENTS: Cosi Fan Tutte; Clemenza di Tito; 
Finta Giardiniera; II Re Pastore ; Der S chaus pieldire\' 
tor; Bastien et Bastienne. 


Mendelssohn: Symphony No. 3 in A minor, Op. 56 

(“Scotch'’). Pittsburgh Symphony Orchestra con- 
ducted by William Steinberg. D12" disc (*CL- 
S-8192) $5.72. 

Mendelssohn: Symphony No. 3 in A minor, Op. 56 

(“Scotch”). London Symphony Orchestra con- 
ducted by Georg Solti. 1-12" disc (*L-LL-708) 

The steady popularity of the Italian Symphony 
has placed the Scotch in a poor second place among 
Mendelssohn symphonies. While the popularity of 
the Italian is understandable, every hearing of the 
Scotch causes us to wonder why this symphony is 
not a great deal more popular. It is in many ways a 
better work, as well it might be, since it was com- 
posed long after the Italian; the business of number- 
ing symphonies is once again misleading in this 
matter. The Scotch symphony was undoubtedly in- 
spired by a visit to Scotland, but it was not com- 
posed immediately in the heat of inspiration; rather 
it was completed thirteen years later. Thus we have 
a work which is the product of a fully matured 
musician, with an inspiration that had gained good 
perspective and had a chance to be fused with other 
musical experience. The result is a work which 
stands at the top of Mendelssohn's symphonies as 
a fine work, not just a descriptive nor programmatic 
work. Mendelssohn disclaimed any program for the 
work, although there is admittedly a musical connec- 
tion with the Palace of Holyrood House in Edin- 
burgh, particularly its chapel. Here is symphonic 
writing by Mendelssohn at his very best. 

The two recordings here under consideration are 
both excellent. Steinberg has a more vital and ener- 

getic approach, in good control, not flamboyant, but 
genuinely enthusiastic. It is not only a reading of 
great vitality, but also an orchestral performance of 
the same calibre, for the orchestra responds superbly. 
In this respect Steinberg and Klemperer are about 
on a par and head the list of recorded versions 
(Klemperer *VX-PL-7080). In the matter of re- 
production, London and Capitol are quite different. 
Capitol's disc has a big, luscious, blooming tone, 
with good string quality, but will be marred for many 
by excessive reverberation; it did not annoy us, but 
we admit it is there. London’s recording is a closer 
job with more clarity, although it has a rather thin 
and nasal string tone. You will do well to find out 
which sounds better on your set and to your ears, 
for each is quite different in its characteristics. S. 
Sibelius: Symphony No. 3 in C, Op. 52. One side, 

and Sibelius: Symphony No. 7 in C, Op. 105. 

Stockholm Radio Symphony Orchestra conducted 

by Sixten Ehrling. 1-12" disc (*ME-MG-10125) 


Mercury plans to offer all seven symphonies of 
Sibelius by the same orchestra and conductor. So 
far, the First, Third and Seventh have been issued, 
and if they hurry up, they will have the first LP’s 
on the market of the Fourth and Sixth. If the whole 
series is of an excellence comparable to this disc it 
will be a worthy project. The Stockholm Radio 
Symphony Orchestra has long been regarded as one 
of the three finest in Scandinavia. Sixten Ehrling is 
Sweden's most brilliant young conductor of the post 
World War Two era, and is thoroughly schooled 
by circumstance and environment and by intense 
study in the most authentic and vital traditions with 
respect to the proper performance and interpretation 
of the Sibelius symphonies. 

It is fortunate that we have such an able inter- 
preter for the Third Symphony which appears for 
the first time on LP. The Third begins a new type 
of symphonic writing for Sibelius, who forsook the 
romantic utterances of the first two symphonies and 
also the orchestration and devices of European and 
Slavic musical romanticism. After Sibelius and his 
family moved to Jarvenpaa, in the country away 
from the distractions of city life in Helsinki, he 
began a lifelong communion with nature — the 
Finnish lakes and forests, the sounds of wind and 
of water. Music which was more clearly defined and 
more truly Sibelius, as we now know him, was the 
result. The Third Symphony is clearly a departure 
from the ones which preceded it. The Seventh Sym- 
phony , his last, is a good pairing. It is the achieve- 
ment of a true synthesis of classic and romantic- 
nationalist tradition, maintaining an uncompromising 
integrity of musical personality. 

We found Ehrling’s performances magnificent and 
the reproduction of them among today’s best. He has 
a directness of approach befitting the music, yet 
there is abundant power and feeling. The orchestra 
responds with some glorious playing and proves to 



• Indicates LP S8^ rom. 
0 Indicates 46 rpm. 



I he N ew R ecords 

be a first class group of fine polish and lovely tone. 

A splendid disc in every respect, which we highly 
recommend. S. 

Haydn: Symphony No. 70 in D and Mozart: 
Overture in B-flat, K. 311a ( ‘‘Paris'’ ). One side, 
and Haydn: Symphony No. 54 in G. Chamber 
Orchestra of the Vienna State Academy of Music 
conducted by Hans Swarowsky. 1-1 2" disc 
(*LYR'LL'32) $5.95. 

Haydn: Symphony No. 12 in E and Haydn: Sym- 
phony No. 23 in G. One side, Haydn: Sym- 
phony No. 30 in C (“Alleluja") and Haydn: 
Symphony No. 29 in E. Chamber Orchestra of 
the Vienna State Academy of Music conducted by 
Wilhelm Leibner. PI 2" disc (*LYR'LL'36) 


Haydn: Symphony No. 93 in D. One side, and 
Haydn: Symphony No. 88 in G. Vienna Sym' 
phony Orchestra conducted by Hermann Scher' 
chen. M2" disc (*WEST'WL'5178) $5.95. 
Avoiding the unfortunate fallacy that Haydn and 
Mozart were precursors of Beethoven rather than 
composers whose art was as independent and fully 
developed as the latter’s music was, the Vienna 
Chamber Orchestra under Hans Swarowsky offers a 
recording which is among the few to give evidence 
to the fact that the music of the two Giants bears 
greater resemblance to that of the Baroque period 
which preceded them than to that of the late classi' 
cal period which followed. Swarowsky, avoiding the 
pale, overly delicate type of performance, executes 
a vital colorful reading which could well serve as 
a model for those who make the Haydn'Mozart 
School sound like a dull conglomeration of nervous 
superficialities. Like Ralph Kirkpatrick who has 
striven (and succeeded) to give us a “life size 
Mozart’’ (*Bartok BRS'912), Swarowsky is one of 
the few artists who can see the classicists from the 
other side of 1750. 

Wilhelm Leibner’s recording of four previously 
unrecorded Haydn Symphonies gives them a some' 
what too sensational entrance into the phonographic 
repertoire. His rushed, violently energetic perform' 
ance does not compensate for the smallness of the 
music, which we assume was its intention. 

Continuing in his project to improve the Haydn 
Symphonies, Dr. Scherchen wields his musical ax 
to carve for recorded eternity the image of Brunn' 
hilde riding over the Esterhazy Estate. C. 

Tchaikovsky: Symphony No. 5 in E minor, Op. 64. 

Hamburg Radio Symphony Orchestra conducted 
by Hans Schmidt'Isserstedt. M2" disc (*L'LL' 
691) $5.95. 

It has been a long time since any performance of 
the old Tchaikovsky Fifth has given us as much 
pleasure as this one. It has a large, romantic spa' 
ciousness about it very rare in today’s performances. 

It is admittedly played with generally slower tempos 
than nearly any other LP version. One disadvan' 
tage of this disc is that the second movement is 
broken — half on side one, half on side two. The 
quality of recorded tone is rich and thick and quite 
in keeping with the style of performance. It is not 
as sharp as many current LP’s, and has a resound' 
ingly full bass which is exceptionally clear for its 
weight. The conductor takes a traditional cut in the 
last movement which we would prefer he had not 
done; it seems unnecessary to do this in an LP 
recording. The over'all impression left by this read' 
ing, however, remains satisfying, and it is the style 
we enjoy in a Tchaikovsky symphony. 

Hans Schmidt'Isserstedt is permanent director of 
the Hamburg Radio Symphony Orchestra, a respon' 
sible position in present'day Germany. This orches' 
tra is a thoroughly excellent one, as you can hear 
in the present recording. The conductor made many 
records for Telefunken before and during the last 
war when he was one of the most promising of the 
younger conductors. 

With nearly a dozen to choose from, recordings 
of this popular symphony present a problem to those 
who do not yet own one. The best all around job 
which will appeal to most folks is Ormandy and the 
Philadelphia (*C'ML'4400), and others well worth 
investigation are Cantelli (*V'LHMVT003) and 
Dorati ( *ME'MG' 5 0008 ) . S. 

Rimsky-Korsakov: Symphony No. 3 in C, Op. 32. 
National Radio Orchestra conducted by Gauk. 
One side, and Gliere: Concerto for Harp and 
Orchestra. Dulova (harp) with the National 
Radio Orchestra conducted by Gauk. IT 2" disc 
(*PE'SPL'567) $5.95. 

Kalinnikov: Symphony No. 2 in A. National Radio 
Orchestra conducted by Rachlin. IT 2" disc (*PE' 
SPL'566) $5.95. 

The three selections on these two records appear 
for the first time on LP discs. They are indeed very 
welcome, and we are glad to report that the foreign 
tapes have been transferred to these LP discs with 
great success. Anyone interested in this music may 
select either of these records with the assurance that 
the reproduction is of high quality and the record 
surfaces smooth and quiet. 

The Rimsky symphony is an early work, written 
before the composer had developed into the master 
of orchestration that he later became. It is not of 
great importance, but it is interesting as an early 
milestone in the development of this great musician. 

. The Gliere Concerto for Harp and Orchestra, 
which dates from 1938, is not profound from a 
pure y musical viewpoint but a highly lovely selec' 
tion (o listen to; and as harp concertos are rarities, 
it is a very welcome addition to the repertory of 
recorded music. We are very sure that it will give 
many music lovers a great deal of pleasure. . . . The 
Russian composer, Basil Sergeivitch Kalinnikov 

• laflwUi LP n>m. 
0 Indicate* 45 rpm. 




T he New 'Records 


(1866' 1901) is little known in this ^ountry, except 
perhaps for his first symphony which was recorded 
a number of years ago by the Indianapolis Symphony 
under Sevitzky. The present symphony, like his 
first, abounds in lovely melodies in the Russian idiom 
and has warmth and a sense of welbbeing that belies 
the idea that all things Russian are morbid and 
somber. One only has to hear this music to appre* 
ciate and enjoy it; its charms are certainly not hid' 
den. Perhaps it will pall after repeated hearings; we 
can’t say because it was new to us. We can say, 
however, that we thoroughly enjoyed the two hear' 
ings that we gave it and that we are looking forward 
to listening to it again at the first opportunity. R. 

Wagner: Der Ring des Nibelungen (Orchestral 
Highlights, Vol. I). Munich State Opera Orches' 
tra conducted by Frans Konwitschny. M2" disc 
(*UR'URLP'7063) $5.95. 

CONTENTS: Rheingold — Entrance of the Gods 
into Valhalla; Wal\ure — Ride of the Valkyries & 
Magic Fire Music; Siegfried Idyll. 

Wagner: Der Ring des Nibelungen (Orchestral 
Highlights, Vol. II). Munich State Opera Or' 
chestra conducted by Frans Konwitschny. M2" 
disc ( *UR'URLP'7065) $5.95. 

CONTENTS: Siegfried — Interlude (Act III); 
Gotterdammerung — Siegfried’s Rhine Journey & 
Siegfried’s Funeral Music Finale; Parsifal — Prelude 
& Good Friday Spell. 

Wagner: Der Ring des Nibelungen (Orchestral 
Highlights, Vols. I & II). Munich State Opera 
Orchestra conducted by Frans Konwitschny. 2' 12" 
discs in album (*UR'URLP'603) $11.90. 

Wagner: Gotterdammerung — Siegfried’s Rhine 
Journey. And Wagner: Gotterdammerung — 
Siegfried’ Funeral Music. One side, and Wagner: 
Tristan und Isolde — Prelude and Liebestod. Pitts' 
burgh Symphony Orchestra conducted by William 
Steinberg. M2" disc (*CL'S'8185) $5.72. 

Wagner: Lohengrin — Prelude (Act I). And Wag- 
ner: Lohengrin — Introduction (Act III). One 
side, and Wagner: Tannhauser — Overture. And 
Wagner: Tannhauser — Prelude (Act III). Mun' 
ich State Opera Orchestra conducted by Robert 
Heger. M2" disc (*UR'URLP'7077) $5.95. 
This month we have a rare feast for those music 
lovers who enjoy fine orchestral Wagnerian record' 
ings. We are happy to report that the performances 
are all of high excellence and that the reproduction 
throughout is very satisfactory. You will note that 
the first two Urania records are available singly or 
may be had together in one album. 

Nielsen: Symphony No. 6 (“Sinfonia Semplice”). 
Danish National Orchestra of the State Radio 
conducted by Thomas Jensen. M2" disc (*ME' 
MG'10137) $4.85. 

“Music of the North Vol. 8’’ in Mercury’s series 

brings us another symphony by Carl Nielsen, the 
fourth to be recorded (already on LP are Nos. 1, 
3, and 4). Nielsen began work on his sixth, and 
last, symphony late in 1924, completing the score 
on 5 December 1925. During this period his life 
was harassed by ill health and depression and also 
by the seeming failure of his own work to take hold 
beyond the borders of his native land. Although he 
was born in the same year as Sibelius, Nielsen's six 
symphonies were scarcely known outside of Denmark 
at the time of his death in 1931, while the seven 
works in that form by the Finnish master had be' 
come part and parcel of the regular concert reper' 
toire, particularly in England and the United States. 
Since 1950, Nielsen has had many brilliant perform' 
ances at various Festivals, is being recorded, and 
appears on orchestra programs more widely. 

The Sixth Symphony opens deceptively in a simple 
and easygoing vein, and the first movement is good 
solid symphonic music. The second movement is 
called Humoreske, and is a sarcastic little piece 
scored for woodwinds, trombone, snare drum, tri' 
angle, and glockenspiel — a bitter commentary on 
the musical modernism of the 1920’s. To us this 
movement is completely out of place in the scheme 
of the symphony. It would be a mighty clever little 
selection of its own — or even as part of a suite of 
some sort — but it sticks out like a sore thumb in 
this otherwise agreeable work. The third movement 
is slow, serious, poignant, and a thoughtful, rather 
sorrowful elegy. The final movement consists of a 
brief introduction, followed by a theme, nine varia' 
tions and coda. 

The composer’s brilliant pupil and protege, Thomas 
Jensen, directs a fine performance of this work, 
clear, concise, and expressive. The Danish orchestra 
plays admirably and the reproduction is exceptionally 
good. S. 

Tchaikovsky: Romeo and Juliet (OuvertureTan' 
tasia). One side, and Liszt: Les Preludes. Con' 
certgebouw Orchestra of Amsterdam conducted by 
Willem Mengelberg. M2" disc (*C'RL'3039) 

Glazounov: Raymonda Ballet Suite, Op. 57. One 
side, and Gliere: The Red Poppy Ballet Suite 

No. 2. Orchestra of the National Theatre con' 
ducted by Yuri Fayer. M2" disc (*VAN'VRS' 
432) $5.95. 

Rimsky-Korsakov: Skazka, Op. 29. One side, and 
Rimsky-Korsakov: The Snow Maiden — Suite. 
Philharmonia Orchestra conducted by Anatole 
Fistoulari. M2" disc (*MGM'E'3017) $4.85. 
Shostakovich: Ballet Suite No. 1 (1950). State 
Orchestra of USSR conducted by Alexander Gauk. 
One side, and Prokofiev: Romeo and Juliet Suite 
No. 2, Op. 64. Leningrad. Philharmonic Orches' 
tra conducted by Eugene Mravinsky. M2" disc 
( *VAN'VRS'6004) $5.95. 

Except for Mengelberg’s famous recording of 



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T he Nm R ecords 


Liszt's Les Preludes, all of these selections are by 
welhknown Russian composers. The two Vanguard 
discs contain recordings that were taken from tapes 
that were made in Russia and we are glad to report 
that our friends behind the Iron Curtain are gradu* 
ally improving their recording technique so that 
recent efforts in that field are quite satisfactory. 

Beethoven: Coriolan Overture, Op. 62 and Beetho- 
ven: Prometheus Overture, Op. 43. One side, 
and Beethoven: Leonore Overture No. 2, Op. 72 
and Beethoven: Egmont Overture, Op. 84. 

Vienna State Philharmonia conducted by Jascha 
Horenstein. IT 2" disc (*VX'PL'8020) $5.95. 

Beethoven: Fidelio — Overture. And Beethoven: 
Consecration of the House Overture, Op. 124. 
One side, and Beethoven: Egmont Overture, Op. 
84 and Beethoven: Leonore Overture No. 2, 
Op. 72a. London Symphony Orchestra conducted 
by Felix Weingartner. IT 2" disc (*C'ML'4647) 

Beethoven: Leonore Overture No. 1 . And Beetho- 
ven: Leonore Overture No. 2. One side, and 
Beethoven: Leonore Overture No. 3. And 
Beethoven: Fidelio — Overture. Vienna State 
Opera Orchestra conducted by Hermann Scher' 
chen. IT 2" disc (*WEST'WLT177) $5.95. 
Each, in its way, of these three recordings has 
substantial merit. Horenstein proffers a well'tem' 
pered, meticulous Beethoven which gains in linear 
clarity and formal firmness what it sacrifices in 
vitality. His performance is tastefully theatrical in 
an unusual merger of German Romanticism and 
Classical form. 

Weingartner’s merits (this is one of the master's 
most successful executions) are obscured by the 
antiquated sound of his recording which is recom' 
mended only to those whose interest in the late 
conductor overshadows their interest in aural quality. 

Scherchen’s disc logically combines all of the four 
overtures to Beethoven's Opera, a coupling that is 
a further indication of the musical intelligence func' 
tioning at Westminster. There has never been, to 
our hearing, a reading of the Fidelio and Leonore 
Overtures as expansive and justifying to their pro' 
portions as this one. When one adds to that the 
superb fidelity of Westminster's new recording 
technique (this is one of the highest fidelity records 
ever produced), one has a disc that few persons 
should want to miss. C. 

Stravinsky: L’Histoire du Sold at. Michele Auclair 
(Soldier), Marcel Herrand (Devil), Jean Marchat 
(Reader) with instrumental ensemble directed by 
Fernand Oubradous. M2" disc (*VX'PL'7960) 

This work without formal precedent, designed to 
be played, recited (in French), and danced simuh 
taneously, is clearly one of the finest pieces produced 
during this century by any composer. And never 

before, not even under his own leadership, has Stra* 
vinsky’s masterpiece received such an understanding 
and definitive performance. What in previous record' 
ings had appeared to be dissonances in the music 
were apparently (after hearing this version) the 
product of inept and unsympathetic playing. Fur' 
thermore the presence of the narrative (included 
here for the first time) works reciprocally with the 
music to enhance and more greatly significate both 
of them. 

Alfven: Midsommarvaka (“Midsummer Vigil”). 
One side, and Grieg: Peer Gynt Suite No. 1, 

Op. 46 — Anitra’s Dance; In the Hall of the 
Mountain King. Philadelphia Orchestra conducted 
by Eugene Ormandy. 1T0" disc (*C'AAL'35) 

Occasionaly we hear persons engaged in some 
phase of the record industry decry the inroads that 
television has made in the sale of phonograph records. 
But here is a case where television actually helped 
the record business. TV fans familiar with the “Om' 
nibus” show (Alistair Cooke et al) will no doubt 
recall the short film “The Stranger Left No Card,” 
which has been run twice on that show; and in case 
you were not one of the many hundreds who wrote 
in to “Omnibus” to inquire about the name of the 
haunting and tuneful theme of that film, we are 
happy to advise you that it was none other than the 
M idsommarva\a, more popularly known as “Swedish 
Rhapsody,” here given a fine performance by Or' 
mandy and the Philadelphians. 

As it is coupled with the ever'popular Anitras 
Dance and In the Hall of the Mountain King, 
this disc should enjoy a very nice sale. 

Brahms: Symphony No. 2 in D, Op. 73. NBC 

Symphony Orchestra conducted by Arturo Tos' 
canini. 4'7" discs in box (0V-WDMT731) $5.14. 
M2" disc (*V'LMT731) $5.72. 

Continuing in his project of recording the Brahms 
Symphonies, Toscanini gives us what is probably the 
best version of the Master’s second effort in that 
form. The fine balance of lyric and dramatic quali' 
ties, the incisiveness of phrasing and over'all clarity 
of details, and above all the apparently close adher' 
ence to the score provide a wholly excellent per' 
formance, aided, not inconsiderably, by Victor’s 
fine new recording technique. 

Wagner — arr. Stokowski. Parsifal — Symphonic Syn' 
thesis. One side, and Schubert: Rosamunde (ex' 
cerpts). Leopold Stokowski and his Symphony 
Orchestra. 4' 7" discs in box (0V'WDMT73O) 
$5.14. M2" disc (*V'LMT730) $5.72. 
Stokowski is the supreme master at taking the 
music such as that of Parsifal and developing it into 
a “Symphonic Synthesis.” He has done so in the 
present instance and under his inspired direction 
it becomes a recording with an almost universal 
appeal. Coupling it with excerpts from Schubert's 

* Indicates LP 88 rpm. 
0 indicates 45 rpm. 




T he Nm Records 


Rosamunde does not in any way lessen its attractive' 
ness. Thus we have an LP disc that should reach 
the best sellers list immediately and probably stay 
there for a long time to come. 

The jacket and label states that there is also con' 
tained on this LP record a recording of the Prelude 
to Act 1 of Parsifal. This is an error that will be 
corrected on future jackets and labels. 

Puccini — trans. Kostelanetz : La Boheme (Orches' 
tral Synthesis). Andre Kosetlanetz and his Orches' 
tra. M2" disc (*C'ML'4655) $5.45. 

Borodin: Prince Igor (Orchestral Suite: Overture, 
Polovski March, Polovtsian Dances). Philharmonia 
Orchestra conducted by Walter Susskind. M2" 
disc (*MGM'E'3008) $4.85. 

Bizet: Carmen (Orchestral Scenes: Prelude & Em 
tr’acte, Final, Danse Boheme). Columbia Sym' 
phony Orchestra conducted by Sir Thomas Beech' 
am. One side, and Rossini: Semiramide — Over' 
ture. Philadelphia Orchestra conducted by Sir 
Thomas Beecham. MO" disc (*CAAL'27) $2.85. 
For those who like operatic music arranged for 
orchestra the three LP discs listed above contain a 
wealth of such music. It has all been nicely performed 
and most faithfully recorded. The little Sir Thomas 
Beecham disc at its modest price is a marvelous value. 

Hanson: Symphony No. 2, Op. 30 (“Romantic”). 
Eastman ' Rochester Symphony Orchestra con' 
ducted by Howard Hanson. One side, and Mac- 
Dowell : Concerto No. 2 in D minor, Op. 23. 
Jesus Maria Sanroma (piano) with the Eastman' 
Rochester Symphony Orchestra conducted by 
Howard Hanson. M2" disc (*C'ML'4638) $5.45. 

NOTE: For review of this disc, see under CON' 



Prokofiev: Concerto No. 1 in D, Op. 19. Ricardo 
Odnoposoff (violin) with the Radio Zurich Or' 
chestra conducted by Heinrich Hollreiser. One 
side, and Stravinsky: Concerto for Piano and 
Wind Orchestra. MewtomWood (piano) and 
members of the Residence Orchestra conducted 
by Walter Goehr. M2" disc (*CH'CHS'l 160) 

Prokofiev: Concerto No. 2 in G minor, Op. 63. 

Zino Francescatti (violin) with the Philharmonic' 
Symphony Orchestra of New York conducted by 
Dimitri Mitropoulos. One side, and Bach: Con- 
certo No. 2 in E. Zino Francescatti (violin) with 
the Columbia Symphony Orchestra conducted by 
George Szell. M2" disc (*C'ML'4648) $5.45. 
The Concert Hall disc of the Prokofiev violin 
concerto features some splendid violin playing by 
the young Ricardo Odnoposoff who, though still in 
his thirties, is a recognized master of his instrument. 
His performance is formidable competition indeed 

for Szigeti and Oistrakh, both of whom have also 
recorded this work. Considering the quality of re' 
production, we would give this disc preference to 
either of the others. The Stravinsky piano concerto 
was mentioned in our review in the April TNR, 
when we said the version conducted by Stravinsky 
himself superceded this one on the basis of authen' 
ticity. As any disciple of Stravinsky would agree, 
that is true. However, for those who may be inter' 
ested in this disc for the works that it offers, we 
would say that Mewton'Wood and Walter Goehr 
succeed in making this music more palatable by 
virtue of a less taut performance and a more roman' 
tic style of playing, also aided by reproduction of 
a sweeter variety than offered by Victor. The disc 
is recommended primarily for the superb violin per' 
formance, and for a mighty good sounding, if less 
authentic reading, of the Stravinsky. We thought 
the reproduction especially attractive — bright but 
not brittle. 

One of the great fiddlers of our day and quite 
a favorite with American audiences, Zino Frances' 
catti, appears on a disc with two greatly contrasting 
works. About the only thing these two have in 
common is Francescatti’s superior playing. The Pro' 
kofiev was previously recorded by Heifetz and Kous' 
sevitzky and reissued on Victor’s Treasury Series 
(*V'LCT'6). For various reasons, mostly mechani' 
cal, we would choose the newer Francescatti disc. 
Such a choice gives us the Prokofiev on one side of 
a twelve'inch disc, compared to both sides of a ten' 
inch by Heifetz. And on the reverse, Francescatti 
offers a magnificent reading of one of our all'time 
favorite concertos, the Bach Second. There are 
several other fine recordings of this work, but none 
any better than this; and Szell provides a sparkling 
accompaniment with a correctly proportioned orches' 
tra, including harpsichord. The reproduction of both 
sides of this disc is of today’s finest. Nothing but 
praise for this one. S. 

MacDowell: Concerto No. 2 in D minor, Op. 23. 

Jesus Maria Sanroma (piano) with the Eastman' 

Rochester Symphony Orchestra conducted by 

Howard Hanson. One side, and Hanson: Sym- 
phony No. 2, Op. 30 (“Romantic”). Eastman' 

Rochester Symphony Orchestra conducted by 

Howard Hanson. M2" disc (*C'ML'4638) $5.45. 

A previous recording of the MacDowell concerto 
was reviewed here in the July 1952 issue. It was 
performed by Alexander Jenner and the Vienna State 
Opera Orchestra under Swoboda (*CH'CHS'l 1 37), 
and we found it to be a good job. The coupling on 
that disc is MacDowell’s Woodland Sketches beauti' 
fully played by Arthur Balsam. If you wish the 
concerto, we would almost say that the matter of 
the coupling could determine which disc to acquire, 
for both recordings are fine. The present disc has 
a more brilliant type of reproduction. Sanroma and 
Hanson offer a reading which is thoroughly idiomatic. 



• Indicates LP 88 ^ rpm. 
0 Indicates 45 rpm. 

may The Ntfze> Records 1953 

nicely styled, and well played. We discussed the con' 
certo and MacDowell at length in the above men' 
tioned review and refer the reader to that for com' 
ment on the work. 

Hanson and the Eastman'Rochester Orchestra 
recorded the “Romantic" symphony some years ago 
for Victor, a set now out of print. This is its first 
LP recording. Composed in 1930 for the fiftieth 
anniversary of the Boston Symphony, Dr. Hanson at 
that time supplied this information about the work: 
“Concerning my Second Symphony, as the subtitle 
implies, it represents for me a definite and acknowh 
edged embracing of the romantic phase. I recognise, 
of course, that romanticism is, at the present time, 
the poor stepchild, without the social standing of 
her elder sister, neo'dassicism. . . . My aim, in this 
symphony, has been to create a work young in 
spirit, romantic in temperament, and simple and 
direct in expression." 

Those thoughts appear as sound today as they did 
two decades ago. The work remains a pleasant com' 
position for those who like listenable, down'to'earth 
music. It is no watered'down Tchaikovsky; it is not 
without dissonance. We would suggest that anyone 
who likes Sibelius would find this work of interest. 
Hanson and the orchestra present a handsome state' 
ment of the music, for he is an accomplished con' 
ductor; and the orchestra plays well. S. 

Liszt: Concerto No. 1 in E-flat. One side, and 
Mendelssohn: Concerto No. 1 in G minor, Op. 

25. Jose Iturbi (piano) conducting the RCA Vic' 
tor Symphony Orchestra. 4'7" discs in box (0V' 
WDM'1734) $5.14. M2" disc (*V'LM'1734) 

This pair of concertos belongs squarely in the 
class of “war'horses," and Iturbi plays them as such. 
The Liszt “triangle concerto," as its unfortunate 
nickname identifies it, has been committed to LP 
discs by several other piano artists of our day, in' 
eluding Rubinstein. The Mendelssohn First Concerto 
has also had several other successful recordings of 
late. While everyone jangles and skitters through the 
Liszt, we doubt whether any of the rest of them 
play it with a brassier, more percussive effect than 
Iturbi. His playing is, as usual, very accurate and 
also exceptionally clean and clear. As a model for 
one studying this work, it would be hard to beat, 
for he clearly reveals every note in the score, and 
the reproduction is inclined to favor the solo instru' 
ment, which also adds to the clarity. If you want a 
really clangy and rousing performance of this old 
thriller, here it is. The other recordings use dif' 
ferent couplings, including Westminster’s disc 
(*WEST'WL'5168) which couples the Liszt Sec' 
ond Concerto and features super'brilliant reproduc' 

The Mendelssohn concerto is also available with 
the same composer’s Second Concerto as a coupling 
(*D'DL'9652), performed by Roloff and Lehmann 

and the Bamberg Symphony. You may, therefore, 
acquire the two Liszt concertos and the two Men' 
delssohn concertos on single LP’s; or if you wish 
just one of each composer’s concertos for your 
library, then the present Iturbi disc will fill the bill. 


Handel: Concerto in G minor, Op. 4, No. 1 . One 
side, and Handel: Concerto in B-flat, Op. 4, 

No. 2. Jeanne Demessieux (organ) with l’Orches' 
tre de la Suisse Romande conducted by Ernest 
Ansermet. M2* disc (*L'LL'695) $5.95. 

Those who would like to own a recording of one 
or two Handel organ concertos may have passed up 
the Vox albums released last year, for they each had 
six concertos on two LP’s. We now have a single 
LP with a pair of concertos although they are quite 
different from the Vox series. Kraft, the organist 
for Vox, and his accompanying orchestra under 
Reinhart, have a bright, rippling, transparent style 
that is prevailingly light and gay. Even in the slow 
movements their texture is clear and cool, and 
throughout the works the organ is a small instru' 
ment of clarity rather than weight. In this new 
disc, we are back to the old idea of a large, rich' 
voiced instrument. Ansermet has a slower'paced, 
more introspective style of Handel interpretation, 
and the whole canvas results in something larger, 
richer, and in a sense more elegant than the Vox 
recordings. The only thing actually undesirable in 
the present set is the thickness of pedal passages in 
the tuttis. Otherwise, we would say Demessieux 
and Ansermet offer a convincing account of their 
ideas about Handel. We think Kraft and Reinhart 
provide a more accurate picture of how these con' 
certos should sound, mainly because they have a 
lighter and less ponderous touch, and these works 
are generally conceded to be a light form of enter' 
tainment rather than a heavy study of any kind. 
One hesitates to criticize too sharply the work of 
Demessieux and Ansermet; Demessieux plays admir' 
ably and often with sensitive beauty in the slow 
movements as well as accuracy in the faster ones. 
And Ansermet prepares the orchestral part with 
care and beautiful finish; neither of them is guilty 
of sentimentalizing the music. You may find this 
treatment much to your taste and completely enjoy' 
able; we think Kraft and Reinhart have a better 
idea in the light, clear, breezy style of their sets. S. 
Liszt: Concerto No. 1 in E-flat. One side, and 
Liszt: Concerto No. 2 in A. Edith Farnadi (piano) 
with the Vienna State Opera Orchestra conducted 
by Hermann Scherchen. M2" disc (*WEST'WL' 
5168) $5.95. 

Eschewing the gaudiness usually associated with 
these concerti (but not necessarily a part of them) 
Dr. Scherchen produces a performance which is 
sensational only in the degree of taste it exhibits — 
a conductor’s performance throughout, the piano and 
pianist being relegated to the positions they prop' 

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The N ew Records 


erly deserve. This record, therefore, should appeal 
more to the musically sophisticated than to the 
novice. The idea of combining both concerti on one 
disc, which is original with Westminster, is a minor 
but significant indication of their musical intelli- 
gence. ] 

Bach: Concerto No. 3 in D. One side, and Bach: 
Concerto No. 4 in A. Kurt Rapf (harpsichord) 
with the Vienna Chamber Orchestra conducted 
by Kurt Rapf. M2" disc (*BG'BG'509) $5.95. 

Bach: Concerto No. 3 in D. One side, and Bach: 
Concerto No. 6 in F. Maria van der Lyck (harp' 
sichord) with the Stuttgart TomStudio Orchestra 
conducted by Hans Michael. IT 2" disc (*PE' 
SPLP'547) $5.95. 

Except that there seems to be a slightly better 
balance between the harpsichord and the orchestra 
on the Bach Guild recording (*BG'BG'509) than 
on the Period disc (*PE'SPLP'547), there is little 
to choose between them. It is pretty much a matter 
of which coupling you will prefer. Reproduction on 
both records is excellent and the soloists in both 
cases are highly capable artists. 

Haydn: Concerto in D, Op. 101. Enrico Mainardi 
(violoncello) with the Berlin Philharmonic Or' 
chestra conducted by Fritz Lehmann. MO" disc 
(*D'DL'7536) $3.85. 

Gluck: Concerto in G for Flute and Orchestra. 

Jean Pierre Rampall (flute) with the Paris Phil' 
harmonic Orchestra conducted by Rene Leibo' 
witz. One side, and Corelli: Concerto for Oboe 
and Strings. Pierre Pierlot (oboe) with the Paris 
Philharmonic Orchestra conducted by Rene Leibo' 
witz. And Haydn: "Toy” Symphony in C. Or' 
chestre Radio'Symphonique de Paris conducted by 
Rene Leibowitz. M2" disc (*OCOCS'29) $5.95. 
Enrico Mainardi (with his singing cello) wades 
through the buckets of tears he apparently conceives 
the Haydn Concerto to be. To have gotten through 
the whole work while suffering so greatly the roman' 
tic agony is indeed a great tribute to his unoppressed 
spirit. Of course the fact that his tempi are mostly 
wrong and his phrasing imprecise is overshadowed 
by the nobility evinced. 

Whoever coupled the works on the Oceanic disc 
had as much a sense of humor as a sense of music. 
The Gluck Concerto is strictly rococco fluff. The 
Corelli work is largely stolen from Handel (but quite 
well stolen). And if you don’t know the Toy Sym' 
phony, among other things it has three birds in it. 
Gliere: Concerto for Harp and Orchestra. Dulova 
(harp) with the National Radio Orchestra con' 
ducted by Gauk. One side, and Rimsky-Korsakov: 
Symphony No. 3 in C, Op. 32. National Radio 
Orchestra conducted by Gauk. M2" disc (*PE' 
SPL'567) $5.95. 

NOTE: For review of this disc see under OR' 


Piston: Quintet for Piano and Strings. Earl Wild 
(piano) with Walden String Quartet. One side, 
and Martinu: Quartet No. 6. Walden String 
Quartet. M2" disc (*WCFM'LP'14) $5.95. 

Piston: Sonata for Violin and Piano. One side, 
and Lopatnikoff: Sonata No. 2 for Violin and 
Piano. Op. 32. Joseph Fuchs (violin) and Artur 
Balsam (piano). M2" disc (*D'DL'9541) $5.85. 
For those interested in music in the modern idiom 
these two LP discs will be of particular appeal. The 
three composers represented are all now living in 
the United States. Walter Piston is American born; 
Martinu was born in Czechoslovakia and came to 
this country in 1941; and Lopatnikoff claims Russia 
as his native land and arrived in New York in 1939, 
after an extended stay in Germany. 

All of the works found on this pair of discs 
must be approached with a sympathy for the 
modern idiom, or at least a desire to expose oneself 
to it without prejudice. This is not the sort of 
music that one can grasp in a moment — repeated 
hearings are necessary before one can begin to 
appreciate it. For those who would like to investi' 
gate the type of music that these three important 
modern composers are writing, the opportunity is 
at hand via these splendid recordings by artists who 
are ideally suited to the task they have set for 
themselves — not an easy task by any means; for 
while this music may not sound particularly difficult, 
we can assure you that it is. 


Bruckner: Mass No. 3 in F minor (“Great”). Doro' 
thea Siebert (soprano), Dagmar Herrmann (alto), 
Erich Majkut (tenor), Otto Wiener (bass), Aka' 
demie Kammerchor and Vienna State Philharmonia 
conducted by Ferdinand Grossman. M2" disc 
(*VX'PL'7940) $5.95. 

Janacek: Slavonic Mass (“Msa glagolskaja”) . 

Moravian Mixed Chorus and Brno Radio Sym' 
phony Orchestra conducted by Bretislav Bakala, 
with Frantisek Michalek (organ). M2" disc 
(*UR'URLP'7072) $5.95. 

“The three Masses — in D Minor, F Minor and 
E Minor — and the Te Deum, are the peak of Bruck' 
ner’s sacred compositions. Here not only does his 
own individual religious feeling display itself but 
the fundamental idea of the source — Christ’s sacrifice 
for humanity — is felt through music of high and 
illustrative inspiration.” Thus writes Dr. Werner 
Wolff in his excellent biography and criticism of 
Anton Bruckner. These vtords sum up, most sue' 
cinctly, the essence of the “rustic genius” who wrote 
such monumental and architectural music. The writ' 
ing of settings for the Mass came easier to Bruckner, 

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The Records 


and there is none of the striving for expression one 
senses throughout the nine symphonies. Dr. Gross' 
man and his forces give a rousing performance of 
this great work. The soloists, it is true, are at times 
something less than adequate, but the over all effect 
is not diminished by these evidences of human 

So different as to be actually startling is the almost 
barbaric Msa glagols\aja by Leos Janacek (1854' 
1928). This work had its first performance at Brno 
in 1928 shortly after Janacek's death and was intro' 
duced to this country at a concert by Bodansky in 
1930. At that time it was emphasized that the piece 
was not, except in form, a mass of the Church — 
Janacek himself did not intend it for performance 
in church. It is a subjective work from start to 
finish. The melodies are not too involved, rather 
straightforward, but the harmonies are; and they 
often swallow up the tunes. The performance here, 
by the chorus and orchestra of the composer's own 
city of Brno may be considered authentic. Certainly 
it is a robust one, full of dramatic dynamic contrasts 
and tempestuous vitality. Technically the disc rates 
with the best recording of today. Excellent note? 
and the text are supplied. W. 

Mascagni: Cavalleria Rusticana (complete). (Sung 
in Italian). Margaret Harshaw, Mildred Miller 
(sopranos); Richard Tucker (tenor); Thelma 
Votipka (mezzo-soprano); Frank Guarrera (bari' 
tone); Chorus and Orchestra of the Metropolitan 
Opera Association conducted by Fausto Cleva. 
Three sides, and Leoncavallo: Pagliacci (com' 
plete.) (Sung in Italian). (TNR Oct. '51). Lu' 
cine Amara soprano); Richard Tucker, Thomas 
Hayward tenors); Giuseppe Valdengo, Clifford 
Harvuot baritones. Chorus and Orchestra of the 
Metropolitan Opera Association conducted by 
Fausto Cleva. 3' 12" discs in album (*C-SL-124) 

Mascagni: Cavalleria Rusticana (complete). (Sung 
in Italian). Margaret Harshaw, Mildred Miller 
(sopranos); Richard Tucker (tenor); Thelma Vo' 
tipka (mezzo-soprano) ; Frank Guarrera (bari' 
tone); Chorus and Orchestra of the Metropolitan 
Opera Association conducted by Fausto Cleva. 
Three sides, and Verdi: La Forza del Destino — 
Overture. And Verdi: La Traviata — Preludes to 
Acts I 6? III. And Verdi: I Vespri Siciliani — 
Overture. Orchestra of the Metropolitan Opera 
Association conducted by Fausto Cleva. 2' 12" 
discs in album (*C-SL-123) $12.11. 

This is the fourth Cavalleria Rusticana on LP; 
the previous ones on RCA Victor (Gigli at the prow 
and Mascagni at the helm) (TNR Mar. '53) and 
Cetra (TNR Dec. '51) were both (this reviewer 
has not heard the Remington) emminently acceptable 
performances of this very popular opera and the 

advent of the Metropolitan Opera Association per' 
formance was viewed rather dimly. 

The cast is assembled from among the best singers 
on the company's roster and, by and large they do 
a good job. Richard Tucker, as Turridu sings in stem 
torian tones, accurate pitch and the absolute mini' 
mum of expression. His opening siciliano lacks the 
required sensuousness and the closing aria, Mama, 
quel vino e generoso, has little of the fire and despera' 
tion inherent in the situation and music. Margaret 
Harshaw, as the unfortunate Santuzza, sings well 
enough but is only a little more successful than 
Tucker insofar as any real characterization is con' 
cerned. The well known Voi lo sapete is delivered 
with good style and considerable vocal opulence — 
nothing more. The duet that follows is passably done 
but like so many Anglo'Saxon performances of pas' 
sionate music, the singing is over-refined. Frank 
Guarrera, as Alfio, fails to impress. 

The orchestra and chorus do yeoman work and, 
on the whole, turn in the best performances of all. 
Cleva’s direction here, as elsewhere, strikes this 
reviewer as pedestrian and lacking in distinction 
which is the set's chief weakness. The recording is 
uniformly good; this is, technically at least, the best 
Cavalleria Rusticana on discs. 

Columbia has thoughtfully packaged the new 
release in two ways. One couples it with the pre' 
viously issued I Pagliacci, while for those who have 
Pagliacci, it is issued alone, with the fourth side 
devoted to the sparklingly recorded but dully played 
Verdi excerpts listed above. W. 

Wolf-Ferrari: I Quattro Rusteghi (“School for 
Fathers") (complete). (Sung in Italian). Gianna 
Perea Labia, Alda Noni, Ester Orell (sopranos); 
Agnese DuEbini (mezzo'soprano) ; Mario Carlin, 
Manfredi Ponz de Leon (tenors); Carlo Ulivi 
(baritone); Fernando Corena, Pasquale Lombardo, 
Cristiano Dalamangas (bassos); Orchestra of 
Radio Italiana conducted by Alfredo Simonetto. 
3' 12" discs in album (*CE-LP-1239) $17.85. 

A real curiosity is Wolf-Ferrari's delightful opera' 
buffa I Quattro Rusteghi. This sparkling comedy has 
had a checkered history. It was first produced in 
Germany (Munich) in 1906; the first Italian per- 
formance was in 1914 (Milan) but the American 
premiere did not take place until October 1951 when 
it was mounted by the New York City Opera Com- 
pany. On this latter occasion it was received with 
critical acclaim, being pronounced a “masterful score 
— in every way charming" (Virgil Thompson) and 
“a delectable little bon-bon of a comic opera" (Olin 

For this recorded production Cetra engaged the 
services of some of the best Italian singers available. 
Fernando Corena brings to the role of Lunardo his 
usual understanding and intelligence along with his 
fine voice. Alda Noni, as Marina, gives a genuinely 
fine and musicianly interpretation of the kindly aunt. 
Vocally, she lives up to the high standards she has 

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PAGE 10 


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set in previous recordings. Mario Carlin is a tenor 
new to records, and he sings the role of Filipeto 
with taste and assurance. There are many others in 
the very long cast; most of them are excellent but 
lack of space precludes more than a brief mention 
ol those who are outstanding. Crisiano Dalamangas 
as the merchant Cancian is superb, and Ester Orell, 
as his wife Felice, also merits praise. 

Alfredo Simonetto directs a performance notable 
for its genuinely musical qualities. He has obviously 
taken considerable pains with the production with 
the usual result — a performance that charms and 
convinces. Naturally, the music is neither profound 
nor, to be honest, really great. Wolf-Ferrari's avowed 
intention as a composer was to make people happy, 
to provide enjoyment “for all who can not create 
(it) for themselves.” In this necessarily limited field 
I Quattro Rusteghi may be considered an unqualified 
success. The usual Cetra excellence prevails as re' 
gards libretto, notes and recording. W. 

Bellini: La Sonnambula (complete). (Sung in 
Italian). Lina Pagliughi, Wanda Ruggeri (so' 
pranos); Ferruccio Tagliavini, Armando Benzi 
(tenors); Annamaria Anelli (mezzo-soprano); 
Cesare Siepi, Piero Poldi (bassos); Chorus of 
CETRA; Orchestra of Radio Italiana conducted 
by Franco Capuana. 3-12" discs in album (*CE- 
LP-1240) $17.85. 

Bellini’s first popular success, La Sonnambula, has 
finally reached the recording studios and emerges as 
a solid, if not overly inspired, opera. Now it is en- 
tirely possible that the singers, while ostensibly of a 
high degree of competence, do not have the proper 
schooling in the style required for a superior per- 
formance, for this reviewer finds it hard to under- 
stand, from these records, the reasons for the im- 
mense popularity the work enjoyed in past years. 
The plot is light, the music matches it, and, apart 
from the numerous opportunities for bel canto, some 
coloratura acrobatics and a few sweet melodies, the 
piece has little to recommend it. 

From the foregoing it can be deduced that La 
Sonnambula is strictly a singer’s opera; so let us ex- 
amine the singers. Lina Pagliughi, once one of 
Italy’s foremost coloraturas, essays the role of 
Amina, a role, incidentally, sung by all the great 
sopranos from the fabulous Guidetta Pasta (the 
original Amina) down to Galli-Curci. She is mod- 
erately successful. Miss Pagliughi has two principal 
arias, both in the last act, and these are sung very 
sweetly; but the bloom is definitely off her once glor- 
ious voice. In former times the high notes were as 
steady as could be, but now they have more than a 
tendency to waver. This deficiency is covered up in 
the rapid passages, and the florid music is tossed 
off with consummate ease. Ferruccio Tagliavini is a 
wooden, rather undistinguished Elvino. This may 
be the fault of the libretto but one cannot escape the 
feeling he should have been able to do something 

about it. Siepi is also strictly two-dimensional as 
Rodolfo, singing the beautiful Vi ravviso a luoghi 
ameni perfectly but with virtually no expression. 

Chorus and orchestra under Maestro Capuana (an 
excellent conductor, by the way) do yeoman work; 
yet the opera does not really come alive. Maybe one 
was expecting too much. In all events, La Sonnam - 
bula is available and those interested are advised to 
proceed with caution. Hear this one first. W. 

Mozart Bass Arias. Fernando Corena (bass) with 
orchestral accompaniments. 1-10" discs (*L-LS- 
671) $4.95. 

CONTENTS: Don Giovanni — Madamina, il cata- 
logo; Don Giovanni — Ah! Pieta, signori miei; Nozze 
di Figaro — Tutto e disposto; 1<lozze di Figaro — Non 
piu andrai; K[ozze di Figaro — Se vuol ballare; “Hozze 
di Figaro — La vendetta; Z auberflote — In diesen 
heil’gen Hallen; Cosi fan Tutte — Donne mie, la 
fate a tanti. 

Famous Operatic Excerpts. Fernando Corena (bass) 
and Aldo Protti (baritone) with l’Orchestre de la 
Suisse Romande conducted by Alberto Erede. 
1-10" disc (*L-LS-701) $4.95. 

CONTENTS: Elisir d’Amore — Udite, udite, o 
rustici; Don Pasquale — Ah! un foco insolito; La 
Gazza Ladra — II mio piano e preparato (Corena). 
Trovatore — II balen del suo sorriso; Pagliacci — Pro- 
logue; Barbiere di Siviglia — Largo al factotum 

Fernando Corena is rapidly building up a sound 
(no pun intended) reputation in this country via 
his many excellent operatic performances on records. 
He adds considerably to his stature with the first of 
these two discs. It so often happens that a singer, 
gifted in many ways, falls flat on his face, as it 
were, when attempting Mozart. Thus it is very 
gratifying to find Corena singing Figaro, Leoprello 
and Don Alfonso with excellent style and musician- 
ship. He wisely does not attempt Don Giovanni 
but does an amazing job with Sarastro’s In diesen 
heiVgen Hallen and in German, too. The disc rep- 
resents a considerable feat both vocally (Corena has 
a superb basso cantante that is beautifully produced 
and handled) and interpretively. He needs bow to 
no one with these performances although in all hon- 
esty one must admit that there are others equally 

The second disc, of which Corena has only one 
side, is notable for an example from Rossini’s almost 
forgotten opera La Gazza Ladra that is not only de- 
lightful music but also an impressive performance. 
The wonderful Udite, udite o rustici (sung here 
without the choral passages) is another superlative 
effort. Least interesting, although only by compari- 
son, is the Don Pasquale e£cerpt. 

After the foregoing music it comes as a sort of 
slap in the face to hear three of the more hackneyed 
operatic excerpts sung in what must be described 



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may The Ntfze; R ecords 1953 

as routine fashion by an able baritone, Aldo Protti. 
Sgr. Protti has a somewhat throaty but pleasing 
voice that is not exceptional in any way and has 
interpretive abilities and musical taste of the same 
calibre. For example, he is unable to resist the urge 
to be “cute''* and thus fouls up the detail in the 
Barbiere aria. A stronger pairing than this could 
be imagined without too much difficulty. 

Adequate recording and somewhat less than sat' 
isfactory notes are supplied. W. 

Boito: Mefistofele (complete). (Sung in Italian). 

Rosetta Noli (soprano), Gianni Poggi (tenor), 
v^Giulio Neri (basso), supporting soloists, Chorus 
and Orchestra of the Opera di Milano conducted 
by Franco Capuana. 3-12" discs in album (*UR' 
URLP'230) $18.50. 

Boito’s only surviving opera, Mefistofele, receives 
a stunning first LP performance on this new Urania 
set. For a work that has been maligned as much as 
this, it comes as a very pleasant surprise to hear a 
work that abounds in lyric melodies, has living char' 
acters and a libretto that not only makes sense but 
that also contains more than a modicum of the phih 
osophy of the original play. 

When first produced in 1861, Mefistofele was a 
failure due to its inordinate length. Boito very sen' 
sibly withdrew the work and pruned it to a more 
reasonable duration; seven years later it was pre' 
sented with great success. The piece follows the 
story of Goethe’s great play in considerable detail, 
including both “Sabbaths.” Boito’s characters are, 
to a great extent, all three'dimensional; they are 
real. Ernest Newman once wrote that the only oper' 
atic devil that carried any conviction was Berlioz’ — 
but when he wrote those lines he had not heard 
Giulio Neri in Mefistofele, although much of the 
realism and strength of the role is inherent in the 

One has nothing but praise for the sterling cast 
of singers Urania cornered for this recording. Neri, 
in the title role, sings magnificently. He has a rare 
understanding of the part and is uniformly success' 
ful. The arias Ecco il mondo and Son lo spirito 
che nega will stand comparison with the greatest. 
Gianni Poggi surprises as Faust. He sings through' 
out with excellent taste, with good expression and 
in a smooth tenor that is most agreeable. Rosetta 
Noli is a newcomer to records and her Margherita is 
notable for its fresh, youthful manner that is as be' 
coming as it is rare. Her work in the half hysterical 
Garden Scene, as well as in the moving Prison Scene, 
go a long way towards making the performance as 
successful as it is. Others in the long cast, notably 
Simone dall’Argine as Helen of Troy, sing well and 
with conviction. 

Maestro Capuana does a thoroughly musicianly 
job with the complex music. He is, in fact, a conduc' 
tor to be reckoned with, for throughout the long 
score he never relaxes his firm grip, (both on the 

singers and orchestra) and the results speak for 
themselves. A good libretto, notes, and technically 
superior recording complete this extraordinarily fine 
operatic issue. W. 

Stravinsky: Oedipus Rex. (Sung in Latin). Martha 
Modi (mezzo'soprano) ; Peter Pears, Helmut Krebs 
(tenors); Heinz Rehfuss (baritone); Otto von 
Rohr (bass); Cologne Radio Symphony Orchestra 
and Chorus conducted by Igor Stravinsky, with 
Jean Cocteau (narrator), l'l 2" disc (*C'ML' 
4644) $5.45. 

It was back in the glamorous Twenties (in 1925 
to be exact) that Igor Stravinsky had the idea of 
writing a large scale work on a Latin text. He de' 
cided on Sophocles’ tragedy Oedipus Rex and then 
asked Jean Cocteau to collaborate with him. M. 
Cocteau “telescoped” the original Greek play into 
six episodes, and the entire text was rewritten into 
Latin. The piece is subtitled an “opera'oratorio” and, 
as the term indicates, is a fusion of both disparate 
forms. The various choruses and arias partake of 
the oratorio style, perhaps, more than opera; but 
a genuine attempt has been made to combine the 
two — not always successfully. 

The recording, under the composer’s direction 
and with Cocteau as Narrator may be considered 
definitive. The soloists, while far from being the best 
singers available, are well versed in the idiom and, 
apart from some ineffectual tenor singing by Pears, 
do pretty well. The chorus and the orchestra bear 
the brunt of the burden and both acquit themselves 

Musically, one must confess to being unimpressed 
by all the sound and fury. The nature of Oedipus 
Rex (and for that matter nearly all of Stravinsky’s 
music) has been accurately analyzed by the late 
Constant Lambert, who wrote “ Oedipus Rex may 
differ in outward shape (from previous compositions) 
but the mentality behind these fabrications remains 
the same. They are not so much music as renowned 
impersonations of music. Oedipus has all the para' 
phernalia of tragedy, and the only thing wrong with 
it is the complete lack of any genuine pity or genuine 
terror. . . .” 

Columbia has achieved a good technical job of 
recording, but to issue such a work as this, French 
narration and Latin text, without a complete libretto 
is the height of something or other — it will certainly 
be unintelligible to many who might otherwise be 
interested. As a first recording of an historical 
work, then, this release will have a certain interest, 
but will this interest last? W. 

Ravel: L’Heure Espagnole (complete). (Sung in 
French). Soloists and l’Orchestre Radio'Sym' 
phonique de Paris de la Radiodiffusion Franchise 
conducted by Rene Leibowitz. IT 2" disc (*VX' 
PL'7880) $5.95. 

L'Heure Espagnole, a delightful one act opera by 
Ravel, was first produced at the Paris Opera' 

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Comique on 19 May 1911. It has, according to 
Ernest Newman, “one of the finest libretti ever writ' 
ten." And, in truth, the story is a delightful one; 
but since Vox subscribes to the theory that the words 
of an opera are of no interest, no opportunity is 
given the buyer to check on Newman’s statement 
nor follow the opera, for no text is supplied with 
the record. 

The cast is drawn from excellent French singers, 
many of whom are becoming well known in this 
country via their recordings. Janine Linda is an 
above average light soprano who makes a very pleas' 
ing Concepcion. Her husband, Torquemada (such a 
name for the old clock maker!) is sung, if the ex' 
pression is the proper one, by Jean Mollien. This 
role calls for a tenor, but a special kind, known as 
Trial, after the famous 18th century singer Antoine 
Trial who sang in a high somewhat thin and nasal 
voice. M. Mollien does his best. As Gonsalve, the 
poet, Andre Dran is in good voice and fine spirits 
and so turns in a good performance. The hero, if 
there is one, is Ramiro, the muleteer, and is sung 
by Jean Hoffman. Here again, a special voice is 
called for — a baritone'Martin. Jean Blaise Martin 
was a well'known French baritone, noted for a voice 
which was almost a tenor in its upper range and a 
bass in its lower. This is quite an order and Hoff' 
man, while not entirely equal to the task (who 
would be nowadays?) is, in all events, obliging. 
Lucian Mans as Don Inigo Gomez (basso buff a) 
is excellent. 

Much of the charm of the piece lies in the or' 
chestra where Ravel’s undoubted genius is apparent 
in every note. Rene Leibowitz, who seems to have 
no limitations either as to understanding or style, 
directs a performance that has wit and interest. While 
L'Heure Espagnole will not please every taste, it is 
decidedly worth investigation. Superb recording is 
in evidence and, as mentioned above, if a libretto 
had been included, the release would have been a 
noteworthy one. W. 

Glinka: A Life for the Czar (complete). (Sung in 
Russian). Tanya Shpieler (soprano); Elena Am 
tonova (alto); Georg Nelepp, Ivan Skobtsov 
(tenors); Maxim Mikhailov, Serge Khossov, Serge 
Svetlanov (bassos); Chorus and Orchestra of the 
Bolshoi Opera conducted by Alexander Melik' 
Pashaiev. 3 ' 1 2 " discs in album (*VAN'VRS' 
6010/2) $18.50. 

Mikhail Glinka, often referred to as the “Father 
of Russian Music" has usually been represented on 
records and concert programs in this country almost 
solely by the sparkling overture to Russian and Lud' 
milla. One has read a lot about other operatic works, 
especially A Life for the Czar, but opportunities to 
hear them have seldom materialized. Thus a debt 
of gratitude is due Vanguard for making available 
a production of this landmark of Russian operatic 

A Life for the Czar was written during the period 
1834'36 and the first performance took place, amid 
scenes of great enthusiasm, at St. Petersburg in 
November of 1836. The story is laid in the 17th 
century and concerns the heroism of the peasant 
Ivan Sussanin during the RussO'Polish wars, a date 
alternatively given as 1612 and 1633. Musically 
speaking Glinka, although he never succeeded in 
freeing himself from Western musical influences, was 
one of the first of the Russian composers to cultivate 
a melodic style based on national folk songs and 
dances. He also developed a “harmonic and orches' 
tral treatment not only admirably suited to them and 
unmistakably Russian," writes Cecil Gray, “but also 
highly original at the same time." 

These qualities are apparent in A Life for the 
Czar and this performance, while not notable for 
excellent singing (although, as is so often the case, 
none of participants are really bad), it does have 
an aura of authenticity about it. The principal role, 
that of the peasant Ivan Sussanin, is sung with con' 
siderable fervor by Maxim Mikhailov, a moderately 
gifted basso. The part of Antonida, his daughter, is 
sung by Tanya Shpieler, who scoops and wobbles her 
way around high notes and transmits her obvious 
discomfiture to the listener. Others in the long cast 
are of varying degrees of competence. 

Chief interest in this work, as is true of so many 
of the little known and unusual works that are 
being recorded nowadays, lies in its newness, its 
unfamiliarity — how it will wear is a big question 
mark. This one, what with the uneven singing and 
the relatively poor recorded quality (despite the 
obviously carefully edited tapes) did not appeal 
overmuch to this reviewer. The English text only 
has been supplied as a libretto. W. 

vocal 2 

Mozart Concert Arias. Magda Laszlo (soprano) 
with the Orchestra of the Vienna State Opera 
conducted by Argeo Quadri. 1'12" disc (*WEST' 
WL'5179) $5.95. 

CONTENTS: Ah, lo previdi !, K. 272 ; Chi sa, 
chi sa, qual sia, K. 582; Vado, ma dove?, K. 583; 
Ch’io mi scordi di te?, K. 505; Bella mia fiamma, 
K. 528. 

Records by Magda Laszlo are always an occasion 
for rejoicing; and when, as in this case, the composer 
is Mozart, the treat promises to be a rare one indeed. 
Nor is this disc a disappointment — on the contrary 
all one’s expectations are fulfilled and, in several 
instances, surpassed. 

Miss Laszlo begins with an early work (K. 272), 
the text of which was taken from an opera by 
Paisiello, a common practice in those days. What is 
uncommon about this work is that it was not written 
as an exercise or for interpolation into someone else’s 
opera. It was written for concert use, specifically for 
Josefa Duschek. The next two arias, while written 

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PAGE 13 




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late in Mozart’s life, revert to an earlier practice 
and are intended for use in operas composed by 
other musicians, in this instance a long forgotten 
piece by Vincente Martin. Musically they are of a 
high order and of formidable technical difficulty. 
The prize of the collection is the aria Ch’io mi 
scordi di te, which is, in reality, a duet for piano 
and soprano with orchestral accompaniment. It is 
one of Mozart's most personal and consequently 
greatest works. The aria was written for Nancy 
Storace, the Susanna of the original production of 
Le y^ozze di Figaro. The last work, K. 528, dates 
from 1787 thus placing it at the time of the Prague 
performances of Don Giovanni. This, like the first 
aria on the record, was also written for Josefa 
Duschek and was reportedly to show off her voice. 
Certainly it is a piece requiring the utmost in tech' 
nique and yet remains good music. 

Magda Laszlo sings all this wonderful music in 
superb style. Vocally, of course, she is always capable 
and sure. The technical difficulties are surmounted 
with deceptive ease. What is equally important is 
her ability to project the mood — to underscore the 
meaning of the words with expression, to color the 
phrases and make them communicative. In this she 
is aided by Quadri’s exceptionally sensitive direction 
and Westminster’s crystal clear recording. As is 
usual with this fine company, the notes set a high 
standard and the complete texts of the arias are 
supplied. A must for all Mozarteans! W. 

Brahms: Liebeslieder Waltzes, Op. 52. One side, 
and Brahms: German Folk Songs. (Sung in 
English). Roger Wagner Chorale directed by 
Roger Wagner. M2" disc (*CL'P'8176) $4.98. 

Brahms: Liebeslieder Waltzes, Op. 52. One side, 
and Brahms: Neue Liebeslieder Waltzes, Op. 65. 

(Sung in German). Erna Hassler (soprano), Hetty 
Pliimacher (alto), Albert Weikenmeier (tenor), 
Franz Kelch (bass) with Hans Michael and Hans 
Priegnitz (pianos). IT 2" disc (*OC'OCS'28) 

Here we have a choice of Brahms’ Liebeslieder 
Waltzes, Op. 52 sung by a small chorus in English 
or as originally written for mixed quartet in German. 
One cannot compare these two versions as they 
sound so entirely different. For those who are familiar 
with these lovely songs to hear them sung in English 
will doubtless sound a bit strange. One will have to 
decide for himself whether he likes them that way 
or not . . . The Capitol disc also contains some 
German folk songs selected from a collection which 
Brahms had published in two volumes without opus 
numbers. On the reverse side of the Oceanic disc 
is a second set of Liebeslieder which appeared six 
years after the first group. These are entirely differ' 
ent from the earlier pieces and have never gained 
the popularity of the first set. This is probably 
because, while the first songs abound with the joy 
and rapture of youthful love, the second group is 

made of sterner stuff and lack the delightful spon' 
taneity that characterizes the earlier ones. 

Bernstein: Wonderful Town. Rosalind Russell with 
members of the Original New York Production. 
7'10" discs in album (D'DA'937) $6.98. 6'7" 
discs in box (0D'9'391) $5.69. M2" disc (*D' 
DL'9010) $5.85. 

Rodgers: On Your Toes. Portia Nelson, Jack Cas' 
sidy, supporting soloists with chorus and orches' 
tra conducted by Lehman Engel. M2" disc (*C' 
ML'4645) $5.45. 

This month Decca offers the present Broadway 
smash hit. Wonderful Town, recorded by the mem' 
bers of the original cast headed by Rosalind Russell; 
and Columbia presents another of its recorded pro' 
ductions of smash hits of another period, On T our 
Toes, which made its bow on the Great White Way 
in 1936. Thus those who are interested in popular 
“Musicals” have an opportunity of comparing what 
was the rage in the thirties and what appeals to 
the theatre going public of today. Rodgers and 
Hart's On T our Toes certainly seems to wear very 
well — its big song hits “There’s a Small Hotel” and 
“Slaughter on Tenth Avenue” seem just as fresh 
and sparkling today as when we first heard them 
nearly twenty years ago. We doubt that Leonard 
Bernstein’s ditties will last as long. However, Won' 
derful Town is a play of action and doubtless 
those who have seen it can add the action in their 
imaginations to the music on the record and really 
get a great kick out the present recording. For 
those who have not seen the show we are rather 
afraid that the recorded version will seem somewhat 
lacking in appeal. 

Seven Centuries of Sacred Music. Yves Tinayre 
(tenor) with instrumental and choral ensemble. 
2' 12" discs in album (*D'DX'120) $11.70. 

A number of years ago Lumen in France issued 
a set of records called “Seven Centuries of Sacred 
Music.” This item has not been available on the 
American market for many years and so this re' 
issue by Decca is a very welcome one. We might 
mention that Decca has done an excellent job in 
transferring these 78 rpm recordings to these LP 
discs and has added some selections that were not 
in the original set. 

The period covered by these recordings is the 
12th to the 18th centuries both inclusive. Very in' 
telligent notes are included in which each selection 
is described and the words of the original text are 
given with an English translation. These records, 
with their copious notes, might very well be used 
as an outline for a course of study of the sacred 
music of this period. Much more might be written 
about these unique recordings if space were available. 
We hope that we have indicated their value suffi' 
ciently to entice those interested to investigate this 
unusual set of discs. 

• Indicate* LP 83 ^ rpm. 
indicate* 45 rpm. 


PAGE 14 


T he Records 



Beethoven: (33) Variations on a Waltz by Dia- 
belli, Op. 120. Three sides, and Beethoven: (15) 
Variations in E-flat, Op. 35 (“Eroica”). Claudio 
Arrau (piano). 2' 12" discs in album (*D'DX' 
122) $11.70. 

Beethoven: Sonata No. 29 in B-flat, Op. 106 

(“Hammerklavier”). Wilhelm Backhaus (piano). 
M2" disc (*L'LL'602) $5.95. 

Few people would disagree that Claudio Arrau 
is one of the half dozen most excellent living pianists 
— and his current offering of these sets of variations 
should certainly serve to further sustain that opinion. 
His technical capabilities are wholly beyond adverse 
criticism, and his musicianship is fundamentally 
sound, being open to objection only in its slightest 
details. Phonographically, he is the first pianist since 
Schnabel to have projected successfully the scope 
of the Diabelli Variations, referred to by Sir Donald 
Francis Tovey as the greatest of all variations (and 
that remarkably certain gentleman, neglecting Bach's 
Goldberg Variations, if not quite accurate, miscalcu' 
lated by only one figure). Arrau avoids the metro' 
nomic type of pedantry which permeates the recent 
Horszowski recording and conceives simultaneously 
the fullest technical implications of the work with 
the idee fixe of joy through despair which Beethoven 
infused into his largest scores. The earlier Eroica 
Variations are performed with the same excellence: 
both, therefore, being done in a manner to which 
we think Beethoven would have consented. 

Backhaus ambles leisurely through the “Hammer' 
Wavier” Sonata producing the effect that during the 
recording he did not wish to be disturbed by the 
piano. The aesthetic principles he employs, those of 
the deepest German Romanticism, though finding 
fulfilment in a consistent and well thought out per' 
formance, are hopelessly unsuited to the music. C. 
Franck: Prelude, Chorale and Fugue. One side, and 
Franck: Prelude, Aria and Finale. Joerg Demus 
(piano). M2" disc (*WEST'WL'5163) $5.95. 
Franck: Prelude, Chorale and Fugue. One side, and 
Chopin: Sonata No. 2 in B-flat minor, Op. 35. 
Witold Malcuzynski (piano). M2" disc (*C'RD 
3031) $3.08. 

Of the two recordings of Franck's famous Pre' 
lude, Chorale and Fugue, we prefer the Demus 
version. Whether it is worth the considerable dif' 
ference in price is something that each music lover 
must decide for himself. 

to, ^nd in memory of, the great Negro actor, Canada 
Lee. It contains among other things the eulogy of 
Oscar Hammerstein II which was delivered at his 
funeral services. It also contains some readings by 
Mr. Lee and a number of scenes from various plays 
in which he was featured, including: T^ative Son ; 
The Tempest; and Othello. These various recorded 
excerpts are tied together with an appropriate com' 
mentary by Don Morrow. This disc is for those 
who would like to keep green in their memories a 
great artist who has gone on to his reward. 

Readings by Sterling Brown and Langston Hughes. 

M2" disc (*FOLK'FP'90) $5.95. 

CONTENTS: Brea\ of Day; Sharecropper; Slim 
in Hell; Old Lem; Old King Cotton; Putting on Dog 
(Brown). Feet Live Their Own Lives; Simple Prays 
a Prayer; Wooing the Muse; Landladies (all from 
“Simple Speaks his Mind”) (Hughes). 

This LP disc contains some poems by Sterling 
Brown, read by the author; and on the reverse side 
Langston Hughes reads some interesting excerpts 
from his book “Simple Speaks his Mind.” Those 
interested in the work of these Negro writers will 
find these selections very satisfactorily recorded. 


Caribbean Dances. Music of Martinique, Virgin 
Islands, Guadeloupe, Trinidad, Antigua, Curacao 
recorded by Walter and Lisa Lekis. M0" disc 
(*FOLK'FP'840) $4.45. 

Songs and Dances of Haiti. Recorded in Haiti by 
Harold Courlander. M 2" disc (*FOLK'P'432) 

Folk Music of Yugoslavia. Recorded in Yugoslavia 
by Laura Boulton. M2" disc (*FOLK'P'434) 

Black Caribs of Honduras. Recorded in Honduras 
by Doris Stone. M2" disc (*FOLK'P'435) $5.95. 

Folk Music of the Mediterranean. Music of Algeria, 
Sardinia, Albania, Syria, France, Egypt, Morocco, 
Italy, Tunis, Greece, Turkey, Spain, Serbia, Libya, 
Palestine. 2' 12" discs in folder (*FOLK'P'501) 

Music of the World’s Peoples (Vol. 2). Music of 
Serbia, Iran, Albania, Congo, China, Finland, 
French Canada, Ukraine, Chile, Italy, Kashmir, 
Sioux, Jewish, Australia, Cuba, Azerbaijan. 2' 12" 
discs in folder (*FOLK'P'505) $11.90. 


Readings and Dramatic Presentations. Canada Lee 
(reading) with Don Morrow (narrator). M2" 
disc (*LIONEL'PT'l/2) $5.95. 

This disc was produced and issued as a tribute 

African Tribal Music and Dances. Sonar Senghor 
and his Troupe. M2" disc (*ESO'ES'513) $5.95. 
Devotees of folk and ethnic music will welcome 
the release of the six new issues of the Ethnic Folk' 
ways Library listed above. Nicely illustrated booklets 
accompany each set, fully explaining the music con' 
tained thereon. 

PAGE 15 


Indicate* LP 88 ^ mm 
0 Indicates 45 rpm 


The N ew Records 


Special note should be made of the African Tribal 
Music disc, for, while this is evidently authentic 
music, Sonar Senghor and his Troupe are primarily 
entertainers who have toured extensively in Europe 
and who will shortly make their U. S. debut. While 
we generally take a dim view of “popularized" folk 
music, we found this to be genuinely entertaining. 
Note to hi-fi fans: this is a wide range recording 
which may be used to demonstrate your equipment. 
Aires Flamencos. Carlos Montoya (guitar). IT 2" 
disc ( *MON TILL A-FM-LP- 10). $5.95. 

In the April 1953 issue of The New Records 
we reviewed a Flamencan disc entitled El Pili; 
readers who were interested in that record w 7 ill surely 
find the present disc of supreme fascination. 

For the past ten years Montoya has been coming 
to the United States every year for a transcontinental 
concert tour. He has also appeared as soloist with 
the Rochester Symphony Orchestra under Iturbi. He 
is a master of his instrument, and with such a dearth 
of good Flamenco music presently available, we have 
no doubt that this disc will find a ready market — 
especially in view of the superb reproduction. 

1, 2, 3 and a Zing Zing Zing. Street Games and 
Songs of the Children of New York City, recorded 
and edited by Tony Schwartz. 1T0" disc (*FOLK- 
FP-703) $4.45. 

Probably the best way to indicate what this record 
is all about is to quote Mr. Schwartz's introduction 
to his notes that accompany this recording: 

“T, 2, 3 and a Zing Zing Zing’ grew out of a 
project I am working on, recording the folk expres- 
sion of the community I live in. The material was 
recorded in an area two blocks wide and twenty 
blocks long, in West Midtown Manhattan, and is 
meant to be a sampling of what one might hear 
children doing in this community. These children 
were recorded during the summer and fall of 1952 
while they were on the streets, sidewalks, stoops, 
playgrounds, basements, play centers, churches, 
homes and schools." 

Inside Vienna. Wiener Konzerschrammeln Ensemble. 
1-10" disc (*SOT-1026) $4. 

Those who know Vienna will recognize this music 
as that which may be heard during the summer com- 
ing from the gardens along the narrow streets of 
that city's wine-growing suburbs. In these gardens 
during the warm weather the Viennese love to spend 
their evenings sipping their wine and listening to 
this pleasant and tuneful music (Schrammelmusik). 
This music is usually performed, as it is on this disc, 
by a quartet of players whose instruments are: 
two violins, a contra-guitar and an accordian. It has 
been captured with rare fidelity on the present LP 


The World's Encyclopaedia of Recorded 
Music. By Francis F. Clough and G. J. 
Cuming. 890 pp. Sidgwick and Jackson, 
Ltd. (London). Price $17.50. 

The 7<[ew Catalogue of Historical Records 
1 898*1 908/09. Compiled by Robert Bauer. 
494 pp. Published in England. For sale in 
U. S. A. by H. Royer Smith Co. (Philadeb 
phia). Price $7.25. 

The Gramophone Shop Encyclopedia of Re * 
corded Music (Third Edition) . Robert H. 
Reid, Supervising Editor, 639 pp. Crown 
Publishers (New York). Price $2.95. 

The Victor Boo\ of Operas. Revised and edited 
by Louis Biancolli and Robert Bagar. 
xxiv-[-596 pp. Illustrated. Simon and 
Schuster (New York). Price $3.95. 

Victor Boo\ of Concertos. By Abraham Veinus. 
xxv + 450 pp. Simon and Schuster (New 
York). Price $3.95. 

Collectors' Guide to American Recordings 
1895T925. By Julian Morton Moses. 
Foreword by Giuseppe De Luca. 200 pp. 
Published by the author. Price $3.75. 

I Hear You Calling Me. By Lily McCormack. 
201 pp. Illustrated. The Bruce Publishing 
Co. (Milwaukee). Price $2.75. 

Records: 19 SO Edition. By David Hall, ix -f- 
524 4“ xx PP S - Alfred A. Knopf (New 
York). Price $6. 

NOTE: All the above books have been reviewed 
in previous issues of The "Siew Records. If your local 
dealer does not stock them, orders addressed to H. 
Royer Smith Co., Philadelphia 7, Pa., will be promptly 
filled. The prices quoted include postage to any point 
within U.S.A. 

The first letters In the record number Indicate the manufacturer: BG— Bach Guild, BL — Blbletone, C — Columbia, CE--€etra, CH— Concert 
Hall Society, CL — Capitol, CSM — Colosseum, CRS— Collector’s Record Shop, D — Decca, DL — Dial, ESO — Esoteric, FEST— Festival, 
FOLK— Ethnic Folkways Library, G I OA— Gregorian Institute of America, HS — Hadyn Society, L — London Gramophone, LYR— Lyrl- 
chord, ME— Mercury, OC— Oceanic. OL— L’Olseau Lyre, PE— Period, PH M — Phllharmonla, PLM— Polymuslc, REN— Renaissance, SOT— 
Sounds of Our Times, ST R— Stradivari, UR— Urania, V— Viator, VAN— Vanguard, VX— Vox, and WEST— Westminster. 

Indicates LP 831^ rpm. 
^ indicates 45 rpm. 


PAGE 16 


The N ew Records 


Issued Monthly by 


“The World’s Record Shop” 


VOL 21, NO. 4 JUNE, 1953 B V mall to any addr«. 

S EVERAL years ago WOR Feature Records 
issued a set of records (78 rpm) with 
which one might learn Spanish. The course 
was prepared by Frank Henius and was called 
“Quick Spanish Course.” Twelve lessons were 
given on three 1 Chinch 78 rpm discs. These 
discs were contained in a substantial album 
with a 4 8 'page book containing twelve exercises 
and twelve “Book Lessons.” 

A sample of this course was sent us when it 
was first published, but we did not review it 
because we felt that, while one might learn 
Spanish by means of this course, it would be 
much too difficult for the average person — 
especially a person who was not familiar with 
learning languages. We do not recall the orig' 
inal price of this course but we rather think 
that is was in the neighborhood of $15. 

Recently a number of these courses were 
offered to the publishers of this bulletin at a 
close-out price. We went over the course again 
very carefully, and it occurred to us that this 
course would be very useful to those high school 
or college students who were studying Spanish. 
It would be a marvelous help in improving their 
pronunciation of Spanish words by hearing 
them spoken on the records and also having 
them phonetically spelled in the “Book Les' 
sons.” It further occurred to us that this course 
would be ideal for those who would like to 
brush-up their Spanish — students who have had 
some knowledge of the language but have for' 
gotten much of it through lack of use of it. 

With this in mind the publishers of this 
bulletin bought these courses and are offering 
them to its readers at the very low price of 
$2.95. While we do not suggest that this course 
will teach persons with no knowledge of the 
language to speak Spanish, we do feel that it 
is worth several times this low price to present 
students of the language or to those who have 
studied it previously and have forgotten much 

that they once knew. Also those who are plan' 
ning a trip to Spanish'speaking countries can 
surely get enough from the course to aid them 
considerably in their contacts with Spanish' 
speaking natives. Those interested should place 
their orders for the “Quick Spanish Course” 
promptly. Price $2.95. 

* * 

The London Gramophone Corporation has 
recently announced a 12 'inch LP “Frequency 
Test Record.” This disc is to be used for check' 
ing the frequency response of ones phono' 
graph, and it fills a need of long standing. 

The following constant tone frequencies are 
contained on this new record: 15,000 cycles 
per second; 14,000 cps; 13,000 cps; 12,000 cps; 

11.000 cps; 10,000 cps; 9,000 cps; 8,000 cps; 

7.000 cps; 6,000 cps; 5,000 cps; 4,000 cps; 

3.000 cps; 2,000 cps; 1,000 cps; 500 cps; 250 
cps; 125 cps; 60 cps; and 40 cps. These fre' 
quencies are separated by bands, so that any 
desired frequency may be selected at will. Both 
sides of this disc are exactly the same, each 
side containing the frequencies enumerated 
above; we presume that the user is to mark the 
side he starts with, and should he wear that 
side excessively, he can still use the reverse side. 

Instructions for using the record, plus the 
sound levels (in decibels) for each frequency, 
are given on the jacket containing this LP disc; 
needless to say, the record may be used only 
at 33J/3 rpm and only with a microgroove 
(.001") stylus. 

If your local dealer cannot supply this record, 
orders addressed to the publishers of this bub 
letin will be promptly filled. Record number 
*L'LL'738; price $5.95. 

* * * 

It would seem that there is a not inconsider' 
able interest in recordings of early music, and 
to the uninitiated many of these items are dif- 


The NewRecords 

ficult to find in ths various LP catalogs. With 
this in mind, the publishers of The New 
Records have prepared a list of outstanding 
performances of works by composers who died 
before 1750 (e.g., Buxtehude, Carissimi, Fres' 
cobaldi, Josquin des Pres, Monteverdi, Pales' 
trina, et al — but excluding J. S. Bach) . 

We have tried to make the list as inclusive 
as possible with the hope that it may be useful 
in helping the lover of early music to select 
additional records for his library. The list is 
available on request; simply ask for the List 
of Early Music Recordings and enclose a 3 c 
stamp for return postage. 


We are continually receiving requests for 
back copies of The New Records. Most of 
the issues published during the last twenty 
years are available. The price is 10c each. A 
file of all of the available issues (at least 140 
copies) is $5. These prices are postpaid within 

NOTE: Those persons interested in recent 
recordings only may secure all of the issues of 
the last three years beginning June 1950 (36 
copies) at the special price of $2 (postpaid 
within U. S. A.) . 


Bach: Passacaglia and Fugue in C minor and Bach: 
Concerto in A minor. One side, and Bach: (8) 
Chorale'Preludes. Carl Weinrich (organ). M2" 
disc (*MGM'E'3021) $4.85. (TNR Aug. ’52 & 
May '52). 

Gershwin: Porgy and Bess (excerpts). Lawrence 
Winters, Camilla Williams, Inez Matthews, Avon 
Long, June McMechen, Eddie Matthews and 
Chorus and Orchestra — Engel. DIO" disc (*C' 
AALT1) $2.85. (TNR Oct. '51). 
CONTENTS: Summertime; A Woman Is a Some ' 
time Thing; My Man’s Gone Now; I Got Plenty o 
Nuttin Bess, T ou Is My Woman; It Ain’t Neces ' 
sarily So; Bess, Oh W here s My Bess?; There s a 
Boat Dat’s Leavin’ Soon for New Tor\. 

Verdi: Aida (highlights). One side, and Gounod: 
Faust (highlights). Soloists and Orchestra of the 
New York City Opera Co. — Halasz. IT 2" disc 
(*MGM'ET023) $4.85. (TNR June '51). 

Weber: Der Freischutz (highlights). Soloists, Vienna 
State Opera Chorus and Vienna Philharmonic Or' 
chestra — Ackermann. IT 2" disc (*L'LL'646) 
$5.95. (TNR Aug. '51). 

Puccini: La Boheme (highlights). Soloists, Orches' 
tra and Chorus of the Accademia di Santa Cecilia — 
Erede. M2" disc (*L'LL'649) $5.95. (TNR 
Feb. '52). 

Puccini: M adama Butterfly (highlights). Soloists, 
Orchestra and Chorus of the Accademia di Santa 
Cecilia — Erede. IT 2" disc (*L'LL'650) $5.95. 
(TNR Apr. '52). 


Sullivan: The Mikado — Overture. One side, and 
Sullivan: H. M. S. Pinafore — Overture. New 
Symphony Orchestra conducted by Isidore God' 
frey. 1T0" disc (*L'LD'9007) $2.95. 

Weber: Jubel-Ouvertiire in E, Op. 59. One side, 
and Weber: Peter Schmoll und sein Nachbarn — 

Overture, Op. 8. Bamberg Symphony Orchestra 
conducted by Ferdinand Leitner. 1T0" disc (*D' 
DL'4054) $2.50. 

Weber: Euryanthe — Overture. One side, and 
Weber: Preciosa Overture and Weber: Abu 
Hassan — Overture. Bamberg Symphony Orchestra 
conducted by Ferdinand Leitner. 1T0" disc (*D' 
DL'4057) $2.50. 

Strauss: Die Fledermaus — Overture. One side, and 
Strauss: Der Zigeunerbaron — Overture. RIAS 
Symphony Orchestra conducted by Ferenc Fric' 
say. 1' 10" disc (*D'DL'4052) $2.50. 

Brahms: Academic Festival Overture, Op. 80 and 
Brahms: Tragische Ouvertiire, Op. 81. One side, 
Brahms: Variations on a Theme of Haydn, Op. 

56a (“St. Antoni Chorale”). Concertgebouw Or' 
chestra of Amsterdam conducted by Eduard van 
Beinum. M2" disc (*L'LL'735) $5.95. 


Rimsky-Korsakov: Scheherazade. Philharmonia Or' 
chestra conducted by Leopold Stokowski. 4' 7" 
discs in box (0AVDMT732) $5.14. M2" disc 
(*V'LMT732) $5.72. 

Scheherazade is a pictorial canvas that has a 
definite story and program, and no tone'poem has 
been subjected to more varied interpretations than 
this good old war horse. Besides being a field day 
for the conductor's imagination, it is also a marvelous 
exhibition piece for the virtuosity of a symphony 
orchestra. It goes without saying that Leopold StO' 
kowski takes advantage of every opportunity to 
apply a striking interpretation to this music. It is 
one of the pieces which he has been known for many 
years to play in a sensational way; his old Philadeb 
phia Orchestra set was cherished by many. This time 
he uses the renowned Philharmonia Orchestra of 
London, and is accorded reproduction of a sort that 
is new in English circles. Recorded in Kingsway 
Hall, it is a magnificent job mechanically, plenty of 
resonance, no blurring, and fine perspective and very 
faithful timbre. The loud passages emerge with ex' 

• Indicate* L»P * 3*4 rpm. 
0 Indicate* 45 rpm. 





like New R ecords 


ceptional clarity. 

Our favorite recording for quite some time has 
been Ormandy and the Philadelphia Orchestra (*0 
ML'4089), and we do not intend to part with this 
disc. Between Ormandy and Stokowski there is in' 
deed a world of difference. There are many sections 
which are totally different; different tempi, different 
lines brought out, a completely different approach. 
Generally speaking, Ormandy outplays Stokowski in 
the first movement. In the third movement, Stokowski 
achieves gossamer effects and a sensuous atmosphere, 
where Ormandy keeps things moving and uses larger 
masses of tone to depict the Young Prince and 

Young Princess. It is in the second and fourth 

movements that Stokowski dramatizes the music with 
a flair that must be heard to be believed. His con' 

ception of the stormy sea and the shipwreck is a 

masterpiece bordering on sound'effects rather than 

If you take the time to compare Ormandy and 
Stokowski you will be amazed at how two conduc' 
tors can arrive at two such entirely different results 
in the same score. Another recent Scheherazade by 
Dorati and the Minneapolis Orchestra (*ME'MG' 
50009) is well played and very well recorded, but is 
in the lightweight division compared to Ormandy and 
Stokowski. Monteux and Ansermet do not excite 
as do these other two, and the others who have 
LP discs are still further down the list. S. 

Sibelius: Lemminkainen Suite. Philadelphia Orches' 
tra conducted by Eugene Ormandy. 1 ' 1 2" disc 
(*C'ML'4672) $5.45. 

Sibelius: En Saga, Op. 9. One side, and Sibelius: 
Tapiola, Op. 112. Concertgebouw Orchestra of 
Amsterdam conducted by Eduard van Beinum. 
M2" disc (*L'LL'737) $5.95. 

Most persons by now have heard the beautiful 
tone'poem The Swan of Tuonela, which the Phila' 
delphia Orchestra, among many others, has com' 
mitted to records several times, and some have heard 
Lemmin\ainen’s Homecoming, also recorded several 
times. But the premiere of the complete work known 
as the Lemmin\ainen Suite was given during the 
past year by Ormandy on the composer’s 86th 
birthday, and Columbia has lost no time in offering 
a recording of it which presents the two sections 
previously unheard. These sections are titled Lem ' 
min\ainen and the Maidens of Saari and Lemmin' 
\dinen in Tuonela; they appear as the first and third 
sections, Swan is second and Homecoming is the 
fourth. The music was inspired by episodes of the 
Kalevala, a collection of Finnish legends. Sibelius’ 
first idea had been to fashion an opera from these 
stories, but the opera project was abandoned and 
the four tone'poems were presented as such in 1896. 
Lemminkainen is pronounced LEM'men'ki'EEN'nen, 
in case you are baffled by this odd name. 

Ormandy and the Philadelphians plays this music 
with surpassing beauty. Ormandy has seen fit not 
to overplay it; the playing is relaxed and serene, with 

a great deal of atmosphere and mood that seem most 
appropriate and descriptive. The two unfamiliar sec' 
tions are interesting and characteristic, and with 
repeated hearings they might prove as palatable as 
Sibelius' more familiar scores. The reproduction is 

Eduard van Beinum and the admirable Concert' 
gebouw play a pair of Sibelius’ works which make 
an ideal LP coupling. En Saga, an early work, em' 
ploys much material from an Octet for clarinet, flute 
and strings; it has no story although there is a 
nationalistic feeling about it. Tapiola, written in 
1925 on a commission from Walter Damrosch, is 
one of the composer’s greatest scores, a mature ex' 
pression of the deep poetic vision which first became 
evident in En Saga. Van Beinum does nobly with 
both pieces, even matching Beecham’s LP of Tapiola. 
The Dutch conductor is in no hurry with this music 
and achieves some fine effects, all within a musicianly 
framework. The reproduction is good, rather thick 
in texture and with nice string tone. S. 

Rachmaninoff: Symphony No. 3 in A minor, Op. 

44. Bolshoi Symphony Orchestra conducted by 

Nicholas Golovanov. M 2" disc (*RACHMANL 
NOFF SOCIETY RS'7) $5.95. 

Rachmaninoff composed the Third Symphony 
nearly thirty years after the Second, during his last, 
most soul'searching period. He had vowed the Sec' 
ond would be his last, but the composition of the 
Third is most easily explainable by the type of work 
it is. There is a completely different approach and 
style in the Third. It is clearly an effort at expand' 
ing his own horizons, and Rachmaninoff must be con' 
sidered ambitious and progressive in his desire to 
write this symphony. Where the popular Second 
wallows around in typical romantic fields of com' 
position, the Third is a more complex, enigmatic 
work, which has fewer formal and classical lines, 
and which is generally a really ambitious, and for 
Rachmaninoff, experimental work. 

When Stokowski and the Philadelphia Orchestra 
premiered the work in November 1936, the press 
was rather cool. If one knows the Philadelphia press 
in matters of musical criticism as we do, one would 
understand that; for our largest paper has had 
something less than a charitable attitude toward 
anything newer than Wagner, unless the newer work 
is completely conventional. Whether the unfavorable 
press militated against the popularity which this work 
might have enjoyed or whether it was not destined 
to capture the fancies of the American public is 
something we hate to try to explain, because in 
Russia the Third has become the most frequently per' 
formed of Rachmaninoff’s purely orchestral works. 

Nicholas Golovanov has been prominent as a con' 
ductor in Russia for the paft twenty'five years. His 
performances of Rachmaninoff’s music, and in par' 
ticular his championing of the Third Symphony, 
have contributed much to its acceptance there. His 
belief in the work and experience with it are obvious 



Indicate LP rpm. 
0 indicate* 46 rpm. 


r \he Nw Records 


at once, for this is a magnificent performance which 
communicates enthusiasm in no uncertain terms. 
The reproduction is good, if not of today s best, in 
this first LP edition of the work. S. 

Bartok: Dance Suite. One side, and Bartok: (2) 
Portraits. New Symphony Orchestra conducted 
by Franco Autori, with Jean Pougnet (violin). 
M2" disc (*BARTOK'BRS'304) $5.95. 

Bartok: Dance Suite. One side, and Kodaly: Dances 
from Galanta. London Philharmonic Orchestra 
conducted by Georg Solti. LI 2" disc (*L'LL'709) 

Bartok’s Dance Suite, written for the fiftieth anni' 
versary of the merger of Buda and Pest, is not one 
of his greatest compositions. (His truely great 
achievements were almost always in chamber music. 
The case is not that he was incapable of thinking 
greatly on a large scale, but that, like composers be' 
fore the auditory obesity set in, he found the more 
restrained and economical media most suitable.) The 
work is, nevertheless, a well constructed suite on 
authentic Hungarian themes and finds an essentially 
perfect performance in Autori’s hands. Under Solti's 
oppressive touch, however, there is only preposterous 

The “Two Portraits" side of Autori’s disc, too, 
is well executed, the first part being one of Bartok’s 
most successful early works and in parts reminiscent 
of the unique opening fugue of Beethoven’s C'sharp 
minor Quartet. 

Solti’s production of the Dances of Galanta lacks 
the taste and proportion of De Sabata’s version 

Gould: Latin- American Symphonette. One side, 
and Barber: Overture to "The School for Scan- 
dal,” Op. 5 and Barber: Adagio for Strings 

(from “String Quartet, Op. 11"). And Barber: 
Essay for Orchestra No. 1, Op. 12. Eastman' 
Rochester Symphony Orchestra conducted by 
Howard Hanson, l'l 2" disc (*ME'MG'40002) 

This interesting disc contains the works of two 
American composers of about the same age. Samuel 
Barber was born in 1910 and Morton Gould in 
1913. Gould, despite his thorough classical musical 
training, has specialised in the more popular idiom 
of the musical theatre of the present day. His Latin' 
American Symphonette in four movements is based 
on four dance rhythms from south of the border. 
It is largely percussive in character and should ap' 
peal to those who enjoy ballet music with a Latin' 
American tang. . . . Barber’s Overture to The School 
for Scandal was his “graduation thesis” from Cur' 
tis Institute in 1932. It has met with great success 
and has appeared quite often on programs of im' 
portant symphony orchestras. His Adagio for Strings 
was originally a movement from a string quartet, 
and in its present form for full string orchestra it 
was first performed by Toscanini and the NBC 

Symphony during a broadcast in 1938. On this 
same program was Barber’s Essay for Orchestra No. 
1, Op. 12, which is also included on the present 
disc. Both of these latter pieces have caught on 
very well with symphony orchestra audiences, and 
whenever they appear on programs they are greeted 
with much enthusiasm. Previous recordings of them 
have enjoyed quite large sales. At the hands of 
Howard Hanson, who is most sympathetic to modern 
American music, the works of these two composers 
has been performed most felicitously. We feel that 
Messrs. Barber and Gould should be very happy to 
have had Mr. Hanson record their works. Mercury 
has supplied superb reproduction. 

R. Strauss: An Apline Symphony, Op. 64. Munich 
State Opera Orchestra conducted by Franz Korn 
witschny. L12" disc (*UR'URLP'7064) $5.95. 

R. Strauss: Ein Heldenleben, Op. 40. Vienna Phil' 
harmonic Orchestra conducted by Clemens Krauss. 
LI 2" disc (*L'LL'659) $5.95. 

R. Strauss: Don Juan, Op. 20. One side, and 
R. Strauss: Tod und Verklarung, Op. 24. Phil' 
harmonic'Symphony Orchestra of New York con' 
ducted by Bruno Walter. LI 2" disc (*C'ML' 
4650) $5.45. 

Of particular interest is An Alpine Symphony, 
Op. 64 — this is the first time that this work has 
appeared in a domestic catalog. The reason for this 

is, we understand, that there are certainly copyright 
restrictions on this particular Strauss opus that, up 
until this time, have made it impractical for domestic 
publishers to issue recordings of it. We note that 
the present disc carries a special label stating that 
public performances and broadcasts of this recording 
are strictly prohibited. An Alpine Symphony, a 
descriptive work in one movement, is certainly one 
of Strauss’ lesser compositions and has never proved 
popular with American audiences; however, a cob 
lection of Strauss recordings is not complete without 

it, and as the present recording is an excellent one 
it fills a long vacant stop in the repertory of recorded 
music. . . . The other three Strauss works are ah 
ready well represented in the present LP catalog. 
The famous Mengelberg recording of Ein Helden' 
lehen probably heads the list of recordings of that 
outstanding tone poem. As for Don Juan and Tod 
und Ver\larung we would say that the present 
Walter versions rate with the best of the available 
recordings of these well'known Strauss works. We 
suggest that you listen to Furtwangler’s performance 
of Tod und Ver\larung and Toscanini's Don Juan 
before you make your choice. 

Corelli: (12) Concerti Grossi, Op. 6 (complete). 
Corelli Tri'Centenary String Orchestra conducted 
by Dean Eckertsen. 3'12" discs in album (*VX' 
PL'7893) $17.85. 

The idea of recording completely the Concerti 
Grossi, Op. 6, of Corelli, his masterpiece, was an 

* Indicate* LP 38 rpm. 
$ indicate* 45 rpm. 




The New Records 1953 

excellent one. It is therefore unfortunate that the 
Corelli Tricentenary String Orchestra could not 
have presented a more faithful and authentic per' 
formance. Their playing is mechanical and unyield' 
ing. One need only compare their version of the 
Christmas Concerto with that of the Virtuosi di 
Roma (*D'DL'9649) to realize that the Tri'Cem 
tenary’s brilliant technical achievement does enor' 
mously less for the music than the understanding, 
flexible playing of the latter group. 

Respighi: The Pines of Rome. One side, and 
Respighi: The Fountains of Rome. Minneapolis 
Symphony Orchestra conducted by Antal Dorati. 
1 ' 1 2" disc (*ME'MG'50011) $5.9?. 

The tremendous activity of the various recording 
companies, both major and minor, necessarily gives 
rise to duplications. Very often the duplication is 
exasperating (as in the case of one or more poor 
recordings or performances of the same piece); but 
at times the duplication can be uncommonly instruc' 

Such is the case with the present recording by 
Mercury of Respighi's two best known tone poems. 
A few months ago Westminster released this same 
coupling, using their “new" recording technique. 
This reviewer wrote, at that time (TNR March '53), 
that “this is an astonishing record. . . . the finest 
yet made." Strong words, as one looks back on 
them but, strangely enough, the new Mercury record' 
ing merits the same adjectives. It is also astonishing, 
particularly so in view of the excellence of the 
Westminster. Both are superb, if different, examples 
of the recording art. Each ranks as one of the best 
engineering jobs yet released. 

Differences there are, however, and it may well be 
that each disc will have its adherents. Mercury's 
single microphone technique gives a balance that is 
very listenable — Westminster's sound is more lush, 
possibly more exciting. One is moving here in the 
very narrow realm of personal taste and must fall 
back on the cliche — if this is what you like, you’ll 
like this. 

The performances are equally good; the points of 
difference lie in the conductors’ approaches to the 
score. Quadri on the Westminster, being an Italian, 
has a more sentimental angle, while Dorati is more 
straightforward; both are acceptable, and each has 

As the reader will have gathered by this time, it 
is virtually impossible to say which disc is better — 
both are superior from every consideration. W. 

Gliere: Symphony No. 3 in B minor, Op. 42 

(“Ilya Mourometz") (complete). Three sides, and 
Gliere: The Red Poppy (Ballet Suite). Vienna 
State Opera Orchestra conducted by Hermann 
Scherchen. 2'12" discs in album (*WEST'WAL' 
210) $11.90. 

Anyone familiar with this work has, in all 
probability, made his acquaintance through the StO' 

kowski'Philadelphia Orchestra recording of some 
years ago, now reissued in the Treasury Series (*V' 
LCT'1106). At the end of the program notes of 
that set we find this sentence: “It remains in con' 
elusion to note that Mr. Stokowski has deemed it 
necessary to abridge several passages in this prodi' 
giously long work." We would call that a generous 
understatement. After hearing the complete Scher' 
chen performance, Stokowski's could not rightfully 
be considered a mere abridgement; it is in fact, cut to 
ribbons. No one can deny Stokowski’s version is ef' 
fective; it has many moments of more dramatic 
appeal, breathtaking beauty, and general theatrical 
effectiveness than Scherchen’s reading. That was part 
of the magic of Stokowski and his Philadelphia 
Orchestra. But for an honest statement of the values 
in the score of Ilya Mourometz as Gliere wrote it, 
we must turn to Scherchen. Ilya is a large, sprawling 
canvas, rather loosely connected in spots, and relying 
heavily on its program to hold it together. But the 
composer’s conception was a large one, and he 
achieves an impressive picture. Scherchen is a valiant 
champion for the work; the orchestra plays valiantly 
also, which is not to say absolutely perfectly, but 
with zeal. And Westminster has lavished reproduc' 
tion of imposing dimensions on this large scale music, 
resulting in a most impressive recording, up to West' 
minster's best standards. Thus the Stokowski disc 
is clearly out of the running, for its age would pre' 
vent it from even coming close to this new job in 
the matter of reproduction. 

The Red Poppy Ballet Suite is given a splendid 
performance by Scherchen and his forces, who offer 
the six sections with a neatness and precision that 
make it a worthy coupling in this album. S. 

Masterpieces from the Theatre. New Orchestral 

Society of Boston conducted by Willis Page. 1'10" 

disc (*SOT'2064) $4.80. 

CONTENTS: Carmen — Introduction to Act I; 
La Cazza Ladra — Overture; Midsummer Right’s 
Dream — Scherzo ; Euryanthe — Overture. 

Masterpieces of the Dance. New Orchestral Society 

of Boston conducted by Willis Page. 1 ' 1 0" disc 
(*SOT'2066) $4.80. 

CONTENTS: Emperor Waltz; Danse Macabre; 
Hungarian Dance No. 6; Dance of the Buffoons. 

When one opens the jackets of the new Cook 
Laboratories Sounds Of Our Times records one will 
find two unique things: first, that the record is com' 
pletely sealed in a semitransparent plastic case, 
which means that the purchaser will be the first to 
touch or play it after it leaves the factory; second, 
a certificate, signed by the manufacturer, stating that 
the dynamic range of the record is “exactly as played 
by the artists," that “no chaiige in volume to com' 
press or expand was made during the entire recording 
session," and that the frequency range of the record' 
ing apparatus used is “within 2 db from 20 cps to 
25,000 cps." These discs have such wide response, 



Indicates LP 88 rpm. 
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T he R ecords 


such incredible dynamic range, and such startling 
overall reproduction that now and for some time to 
come these records will probably be considered the 
ultimate for high fidelity demonstration. C. 

Haydn: Symphony No. 45 in F-sharp minor 

(“Farewell”). One side, and Haydn: Symphony 
No. 7 in C (“Le Midi”). Philadelphia Orchestra 
conducted by Eugene Ormandy. 1-12" disc (*C- 
ML-4673) $5.45. 

As we check the LP catalogs we find that Ormandy 
has not too much competition among the available 
recordings of these two Haydn symphonies, and 
with one of the world's greatest orchestras at his 
command it is not too difficult to come out in the 
lead. This he does handily, and thus those who are 
interested in these charming works are recommended 
to choose the present recorded versions. 

Overtures to Famous Zarzuelas. Orquesta de Camara 
(Madrid) conducted by Ataulfo Argenta. IT 2" 
disc in album (*MONTILLA FM-LP-6) $5.95. 
CONTENTS: Overtures to La Tore del Oro, El 
Tambor de Granaderos, El Baile de Luis Alonso, 
La Boda de Luis Alonso, La Revoltosa, Goyescas, 
La Picara Molinera, La Jota de la Dolores. 

Zarzuelas are musical plays — an unique product 
of the lyric theatre of Spain. The present LP disc 
is probably intended for persons of Spanish origin 
or for those who at least read the language because 
the booklet which describes the various zarzuelas is 
printed in Spanish. The publishers very likely felt 
that others would not be interested in the overtures 
to these works. However, as the music is for the 
most part quite light and tuneful, it is just possible 
that music lovers who have never even heard of a 
zarzuela before may find this disc quite fascinating. 
The reproduction is excellent and the record surfaces 
as smooth as glass. 

Italian Baroque Music. Societa Corelli, with Luisa 
Ribacchi (mezzo-soprano) . 4-7" discs in box 

(0V-WDM-1767) $5.14. M2" disc (*V-LM- 
1767) $5.72. 

CONTENTS: Concerto in A minor (Vivaldi); 
Cessate omai (Vivaldi); Sinfonia No. 2 in G (Vi- 
valdi); Concerto Grosso in F, Op. 1, K[o. 4 (Mar- 
cello); Giudizio Universale — Suonera l'ultima tromba 
(Carissimi); Concerto Grosso in E minor, Op. 3, 
No. 3 (Geminiani). 

Here is an unusual record of great beauty. It 
will introduce to many American music lovers the 
Societa Corelli, a group of seventeen talented young 
chamber musicians who, after great success in their 
native Rome, crossed the Atlantic early in the present 
year for a tour of the United States and Canada. 
On this tour they were accompanied by the brilliant 
young Italian mezzo-soprano, Luisa Ribacchi. The 
Societa Corelli specializes in early Italian music, 
and the present disc contains some truly beautiful 
17th and 18th century music from that land of 

melody. Four of the selections are purely instrumen- 
tal and the two others, the Vivaldi Cessate omai 
and the Carissimi aria from Giudizio Universale, are 
for mezzo-soprano and strings. In these two latter 
pieces Miss Ribacchi is featured. 

We hope that our readers will not pass this disc 
by on the grounds that the music is unfamiliar to 
them. One does not have to be a profound student 
to appreciate and enjoy the selections on this unique 
disc. It is the sort of music that anyone with a 
reasonably cultivated taste for the better things 
in the realm of melody may find very much to his 

Cherubini: Symphony in D. One side, and Beetho- 
ven: Septet in E-flat, Op. 20. NBC Symphony 
Orchestra conducted by Arturo Toscanini. 4-7" 
discs in box (0V-WDMT745) $5.14. 1-12" disc 
(*V-LM-1745) $5.72. 

This attractive LP disc contains two selections 
that might easily be called “serenades” by two 
contemporary composers (Cherubini was born ten 
years before Beethoven and survived him by fifteen 
years). Here is music abounding in refined melodies — 
music to be enjoyed. Toscanini presents it with the 
delicate touch that it requires. We predict that this 
disc will have a wide and continued popularity. 

Strauss: Emperor Waltz. One side, and Strauss: 
Artist’s Life Waltz. Vienna Philharmonic Orches- 
tra conducted by Herbert von Karajan. 1-10" disc 
(*C-AAL-28) $2.85. 

An inexpensive little LP disc containing two of 
Strauss' most popular waltzes nicely played by the 
famous Vienna Philharmonic Orchestra. The sur- 
faces of the sample disc sent us were rather noisy — 
better check for this. 

Lalo: Concerto in D minor for Violoncello and 
Orchestra. Bernard Michelin (violoncello) with 
the Haarlem Symphony Orchestra conducted by 
Toon Verheij. One and one-half sides, and 
Faure: Elegie for Violoncello and Orchestra, 
Op. 24. Bernard Michelin (violoncello) with the 
Utrecht Symphony Orchestra conducted by Paul 
Hupperts. 1-12" disc (*CH-CHS-1 162) $5.95. 

Lalo: Concerto in F, Op. 20. One and one-half 
sides, and Schubert: Rondo in A. Miriam Solo- 
vieff (violin) with the Orchestra of the Vienna 
State Opera conducted by Henry Swoboda. 1-12" 
disc (*CH-CHS-1 143) $5.95. 

Lalo's ’ Cello Concerto is one of the more frequent- 
ly performed works for this noble instrument, yet 
this is its first major LP recording; only one other 
disc is listed in the catalogs. Considering the fine 
work Bernard Michelin does, it is a pity the record- 
ing cannot be given full approval. Michelin is a 
young French 'cellist heard for the first time on 

• Indicates LP 88 rpm. 
^ indicates 45 rpm. 




The N^ze; R ecords 1953 

American records with this release. He is typical of 
the famous French school of 'cello virtuosity and 
combines a smooth and beautiful tone with technical 
mastery and great expressiveness. The main draw' 
back to this disc is the orchestral accompaniment, 
which for several reasons did not ring true to us. 
We doubt that the Haarlem Orchestra is too good 
an outfit; their tone is coarse and their precision 
hardly precise. Some of this tonal quality may be 
due to the quality of reproduction, which is also 
not in the best balance between solo instrument and 
orchestra. However, we found the recorded quality 
of the 'cello beautiful, very faithful and at a correct 
dynamic level. Those who desire a recording of this 
work may not find the orchestra unsatisfactory, in 
which case this disc will be eminently satisfactory 
as far as the solo artist and the way he is recorded 
is concerned. The second side filler, the Faure Elegie, 
is also played beautifully; orchestra and recording 
are good. 

Miriam Solovieff is one of the great woman 
violinists and a fine artist among all violinists now 
concertizmg. We are indebted to her for bringing 
the first LP recording of the Lalo Concerto in F 
minor to us and for doing it so splendidly. Her 
tone is one of purity and moderate size, never harsh, 
and her technique is masterly. The Lalo concerto 
is pleasant listening, rather a minor work compared 
to Beethoven, Brahms, and the other titans, but 
nevertheless worth a frequent hearing. Miss Solo' 
viefFs lovely performance has the benefit of a first 
rate accompaniment directed by Swoboda and 
brilliant reproduction, a trifle on the thin side, but 
not too wiry in sound. The second side filler is a 
superb bit of violin writing by Schubert which 
happens to be not in rondo form; it is an Adagio 
and an Allegro giusto, expertly played by Miss 
Solovieff. S. 

Mozart: (3) Concert!, K. 107. Artur Balsam (piano) 
with the Winterthur Symphony Orchestra con' 
ducted by Otto Ackerman. M2" disc (*CH'CHS' 
1164) $5.95. 

Mozart: Concerto No. 3 in D, K. 40. One side, and 
Mozart: Concerto No. 4 in G, K. 41. Artur 
Balsam (piano) with the Winterthur Symphony 
Orchestra conducted by Otto Ackermann. l'l 2" 
disc (*CH'CHST 163) $5.95. 

Mozart: Concerto No. 22 in E-flat, K. 482. One 
and one'half sides, and Mozart: Rondo in D, 
K. 382. Lili Kraus (piano) with the Vienna 
Symphony Orchestra conducted by Rudolf Moralt. 
M2" disc (*VX'PL'7290) $5.95. 

The Three Concerti for Piano and Strings after 

J. C. Bach, which is the formal catalog title of 

K. 107, were written by the nine'year'old Mozart 
after spending many happy hours with Johann 
Christian Bach in England. J. C. Bach was a dominat' 
ing force in the teaching of young Mozart, and the 
tribute paid his mentor by Mozart is doubly remark' 

able in that these concerti “after" Bach's sonatas 
emerged with a stamp of individuality unmistakably 
Mozart. They are, by comparison with the later 
concerti, with which we are all more familiar, slight 
and small'scaled exercises in the art. Mozart fanciers 
will have much to enjoy and talk about with these 
recordings, all fitted nicely on one LP. 

The Concerti T^os. 3 and 4 were also re'write 
jobs for the young Mozart, whose father kept him 
busy with assignments calculated to sharpen his con' 
siderable aptitude for formalistic purity. The basic 
materials for these were drawn from miscellaneous 
works by such figures as J. C. and C. P. E. Bach, 
Johann Schobert, Hermann Raupach, Eckardt and 
Honauer. Once again Mozart, eleven years old when 
he finished this pair, took some material and gave 
it such a refinement and distinction of his own that 
it could rightly be considered his own. Artur Balsam 
has been gradually filling in the gaps in the recorded 
Mozart concerti by doing the earliest works. These 
additions to the catalog attest to his superior musi' 
cianship with performances of admirable style and 
proper scale. The rising young conductor, Otto 
Ackermann, a permanent conductor of the Vienna 
State Opera, supplies appropriate frameworks for 
these readings. 

With the Concerto J^o. 22 we come to a mature 
period of the master's life and one of his great 
works in this form. Two other versions exist on 
LP, but neither eclipses this lovely performance by 
Lili Kraus. It is delightfully played and accompanied; 
the reproduction is clear and bright. S. 

Glazounov: Concerto in A minor, Op. 82. David 
Oistrakh (violin) with the State Orchestra of 
the USSR conducted by Kiril Kondrashin. One 
side, and Kabalevsky: Concerto for Violoncello 
and Orchestra, Op. 49. Daniel Shafran (violon' 
cello) with the State Orchestra of the USSR 
conducted by Dmitri Kabalevsky. IT 2" disc 
(*VAN'VRS'6005) $5.95. 

Khachaturian: Concerto for Piano and Orchestra. 
Moura Lympany (piano) with the London PhiL 
harmonic Orchestra conducted by Anatole Fis' 
toulari. M2" disc (*L'LL'692) $5.95. 

The Glazounov Violin Concerto does not appear 
with any too great frequency on records, nor for 
that matter in the concert hall. Milstein has an 
LP of it in the catalog (*V'LMT064), and it is 
a fine performance. The concerto is an enjoyable 
work in three movements, though not of formal 
design. The first movement states two themes and 
gives them an exposition but no development. After 
the slow middle movement, the finale returns to 
the opening themes and gives them quite a develop' 
ment culminating in a set of variations employing 
much brilliant writing for tj^e violin. David Oistrakh 
plays the work with eclat as well as poise and solid 
musicianship. He is recognized as one of the finest 
violinists alive, and this performance is but another 
testimonial to his truly great art. The accompaniment 



• Indicates LP 88 n>m. 
0 indicates 45 mm. 


The N lew Records 


and reproduction are good, making this a fine record' 
ing. We would give it preference to the Milstein 
disc mainly for the coupling, which introduces a 
twenty-nine-year-old 'cellist, Daniel Shafran. This 
young man is a virtuoso, and has all the qualities 
which are associated with the best virtuosos. His 
rendition of the Kabalevsky 'cello concerto, the first 
on LP, is an impressive piece of work. The concerto 
is considered one of Kabalevsky's best works. While 
its themes and construction and workmanship are 
good, even better is the fact that it suits the solo 
instrument so beautifully. There is ample opportu- 
nity for a singing tone which one loves to hear from 
a ’cello. 

If the 'cello concerto is considered a good work, 
the piano concerto is still controversial. Some folks 
consider it banal, boring, second-rate music. We 
have always found it entertaining and enjoy hearing 
it a few times each year. It may not be another 
“Emperor," but it holds interest in its own brash 
way. Miss Lympany’s recording on Decca 78 rpm 
discs was hailed by most of us as something terrific 
until Kapell and Levant made their recordings. The 
present set still does not dislodge the Levant-Mitro- 
poulos recording (*C-ML-4288) from top place in 
our opinion. The brittle, percussive bite and fiery 
rendition which they turned out suits this work 
perfectly and will be hard to better. S. 

Brahms: Concerto No. 1 in D minor, Op. 15. 

Friedrich Wuhrer (piano) with Vienna State 
Philharmonia conducted by Hans Swarowsky. 
M2" disc (*VX-PL-8000) $5.95. 

Previously in these pages we have praised Hans 
Swarowsky for having given a model performance 
of some of the works of Haydn and Mozart. His 
conducting of the Brahms First Piano Concerto, 
however, is not so excellent as that on the Haydn- 
Mozart disc, though still an unusual and, in its 
way, a meritorious performance. It is surely more 
confident and successful than the Serkin-Reiner 
recording, and is, in itself, an interesting presenta- 
tion of a Wagnerian interpretation of Brahms. The 
tempi throughout are slow but highly controlled in 
their consistency. The balance between piano and 
orchestra is a fine and subtley delineated one. 

Wuhrer and Swarowsky move more slowly and 
assuredly through the labyrinthine work producing 
more of a sensitively wrought fantasy than a youth- 
ful, somewhat belligerent Concerto. Their perform- 
ance, withal, is the finest available; for those who 
prefer a smooth and relaxed rather than a dramatic 
reading it should assume great appeal. C. 


Franck: String Quartet. WQXR Quartet: Harry 
Glickman and Hugo Fiorato (violins); Jack Braun- 
stein (viola); Harvey Shapiro (violoncello). 1-12" 
disc (*PLM-PRLP-1010) $5.95. 

We are delighted to welcome this splendid record- 

ing of Franck’s string quartet. It is the first and 
only recording of this important work on LP discs. 
In fact, it is the first recording of it that has ap- 
peared in many years; for what reason we do not 
know. It would seem to us that it is the outstanding 
string quartet in the whole category of French 
chamber music. True, it is a difficult work and re- 
quires players who are in just the proper mood; 
but it would seem that such players could have 
been found long ere this. However, the selection of 
the WQXR Quartet was indeed a happy choice, 
and we are glad to recommend this recorded version 
even to the most discerning music lovers. The repro- 
duction is of the best, and the record surfaces 
smooth and quiet. 

Beethoven: Quartet No. 7 in F, Op. 59, No. 1. 

New Italian Quartet. 1-12" disc (*L-LL-673) 

Beethoven: Quartet in C-sharp minor, Op. 131. 

Barylli Quartet. 1-12" disc (*WEST-WL-5144) 

Beethoven: Quartet No. 12 in E-flat, Op. 127. 

Pascal String Quartet. 1-12" disc (*CH-CHS- 

1209) $5.95. 

Beethoven: Quartet No. 13 in B-flat, Op. 130. 

Pascal String Quartet. 1-12" disc (*CH-CHS- 

1210) $5.95. 

Beethoven: Quartet in E-flat, Op. 74. Pascal String 
Quartet. 1-12" disc (*CH-CHS-1208) $5.95. 

Beethoven: Quartet No. 1 in F, Op. 18, No. 1. 
One side, and Beethoven: Quartet No. 2 in G, 
Op. 18, No. 2. Paganini Quartet. 4-7" discs in 
box (0V-WDM-1729) $5.14. 1-12" disc (*V- 
LM-1729) $5.72. 

Beethoven: (3) Piano Quartets, Op. 152. Artur 

Balsam (piano) with members of the Pascal String 
Quartet. 1-12" disc (*CH-CHS-1215) $5.95. 
CONTENTS: Quartet No. 1 in E'flat; Quartet 
No. 2 in D; Quartet No. 3 in C. 

Beethoven: Trio in G, Op. 9, No. 1 . One side, 
and Beethoven: Trio in D, Op. 9, No. 2. Bel 

Arte Trio. 1-12" disc (*D-DL-9635) $5.85. 

Beethoven: Quintet in C, Op. 29. Pascal String 
Quartet with Walter Gerhard (viola). 1-12" disc 
(*CH-CHS-1214) $5.95. 

This month another large batch of Beethoven 
chamber music recordings arrived at the studio. 
Practically all of the selections on these discs are 
well-known and have been recorded numerous 
times. However, there is one disc of special impor- 
tance. It is Concert Hall record (*CH-CHS-1215). 
It contains the three piano quartets of Opus 152. 
We do not recall all three of these little works 
having been recorded previously. No. 1 in E flat 
major was recorded a number of years ago on 78 
rpm discs by E. Robert Schmitz and Members of 

• Indicates LP 88 rpm. 
0 Indicates 45 rpm. 




T he Nm Records 


the Roth Quartet but we find no recordings of 
Ho. 2 in D major nor 7s [o. 3 in C major listed 

These three works are of prime importance to 
collectors of Beethoven recordings because they are 
among his earliest efforts in composition. They date 
from 1785 and were written when the composer 
was but fifteen years of age. They were, however, 
not published until after Beethoven’s death. It 
appears that the great master did not think them of 
much merit although he used parts of them in his 
later compositions. The remarkable thing about 
them is that up until that time no one had written 
for this combination of instruments (piano, violin, 
viola and violoncello). It is true that Mozart was 
experimenting with works in this form at about 
this time but as he was in Vienna and Beethoven 
was in Bonn it is not likely that either knew what 
the other was doing. Mozart produced his two 
Piano Quartets in the winter of 1785'86, shortly 
after Beethoven had written his. While they are 
not of great musical importance, they certainly 
indicate that the young Beethoven was an innovator, 
and that from the very beginning of his career 
he was a leader, not a follower. 

Haydn: (6) Quartets, Op. 20 (“The Sun Quar* 
tets'') (complete). Schneider Quartet. 3' 12" discs 
in box (*HS'HSQdF) $18.50. 

*HS'HSQT6: Quartet Ho. 1 in E'flat and Quar' 
tet Ho. 2 in C. $5.95. 

*HS'HSQ'17: Quartet Ho. 3 in G minor and 
Quartet Ho. 4 in D. $5.95. 

*HS'HSQT8: Quartet Ho. 5 in F minor and 
Quartet Ho. 6 in A. $5.95. 

Haydn: Die sieben Worte des Erloesers am Kreuze, 

Op. 51. Schneider Quartet. IT 2" disc (*HS' 
HSQ'39) $5.95. 

The Haydn Society continues with its project of 
recording all of the Haydn string quartets and we 
are glad to announce that the six quartets that make 
up Opus 20 and The Seven Last Words of the Savior 
on the Cross, Op. 51 are now available. The six 
quartets may be purchased as a unit in an attractive 
box or separately as indicted in the heading. We are 
happy to report that the present recordings are well 
up to the high standard set by the earlier releases 
in this series. 


Monteverdi: Vespro della Beata Vergine. (Sung in 
Latin). Margot Guilleaume, Friederike Sailer (so* 
pranos); Lotte WolLMattheus (alto); Heinz 
Marten, Werner Hohmann (tenors); Franz Kelch 
(bass); Swabian Choral Singers and Stuttgart 
Bach Orchestra conducted by Hans Grischkat. 
2'12" discs in album (*VX'PL'7902) $11.90. 

A letter dated 16 July 1610 and written by one 

Bernardo Cusalo refers to a work which Monteverdi 
was composing and describes it as “una missa a sei 
voci, di studio e fatica grande ” (a mass for six 
voices, a composition of study and great toil). This 
statement, insofar as this writer is concerned, is no 
more nor less than the unvarnished truth. The 
Vespro della Beata Vergine is a monumental work, 
one that cannot, incidentally, be understood or even 
partially absorbed at a single hearing. 

Monteverdi went to considerable pains to com' 
pose a piece that would be acceptable to the church 
authorities (particularly Pope Paul V) and wrote 
this tremendous work in the then conservative North' 
ern style which was in favor at the Papal Chapel. 
The Netherlands polyphony gives the piece its pecu' 
liar austerity and religious intensity. Monteverdi 
was no mere imitator, and what he did was to absorb 
the style of Gombert and Ockeghem and combine 
them with his own; the result is a composition which 
is unique in music history. 

The present performance and recording of this 
intense and personal music is an excellent one. The 
soloists, Margot Guilleaume especially, are very 
good, and the accompanying artists are exceptionally 
capable. It is difficult, virtually impossible, to single 
out any portion of the Vespro della Beata Vergine 
as being outstanding; it is on a uniquely high 
plane. The work has a unity and an emotional 
coherence that are unforgettable. 

Vox has really splurged insofar as the package is 
concerned, for in addition to a very attractive album 
there are scholarly notes, the complete text, the 
playing time (102’46'' incidentally) and the record' 
ing characteristic! Bravo Vox! The recording, from 
a technical angle, leaves nothing to be desired. The 
set should be in every collection of choral music 
worthy of the name; nearly everyone will also find 
it of more than passing interest. W. 

Honegger: Jeanne d’Arc au Bucher (complete). 
(Sung and spoken in French). Vera Zorina, 
Raymond Gerome (speaking); Frances Yeend, 
Carolyn Long (sopranos); Martha Lipton (con' 
tralto); David Lloyd (tenor); Kenneth Smith 
(bass); John H. Brown (boy soprano); Anne 
Carrere, Charles Mahieu, Jean Juillard (narra' 
tors); Temple University Choirs directed by Elaine 
Brown; St. Peter's Boys' Choir directed by Harold 
Gilbert; and Philadelphia Orchestra conducted by 
Eugene Ormandy. 2' 12" discs in album (*C'SL- 
178) $12.11. 

Except for this remarkable recording, how many 
music lovers would ever have the opportunity of 
hearing this exquisite work of art, the work of two 
distinguished Frenchmen — Paul Claudel, the cele' 
brated mystic poet and dramatist, who has supplied 
the text, and Arthur Honegger, one of the out' 
standing composers of the present century, who has 
supplied the superb musical score? True, it has been 
given several times in this country since its first per' 
formance in America on 1 January 1948 at New 



Indicates LP 88 ^ rpm. 
0 Indicates 45 rpm. 


The N^zc; Records 1953 

York with Vera Zorina and the Philharmonic'Sym' 
phony under the direction of Charles Munch, but 
only a comparatively few persons have heard these 
performances. Now thanks to Columbia’s enterprise 
and altruistic efforts it is available for us and for 
future generations to listen to and enjoy. We say 
altruistic because we do not see how such an ex' 
pensive recording can be a commercial success. 
During the 19 52' 5 3 season Eugene Ormandy ar' 
ranged for performances of it with Miss Zorina, the 
Philadelphia Orchestra, choirs, and assisting artists. 
Columbia seized the opportunity of recording it at 
that time, and thus the present recording mirrors 
the highly artistic and successful performances given 
under Mr. Ormandy’s direction during the season 
just closed. 

Jeanne d’Arc au Bucher (Joan of Arc at the 
Stake) was commissioned by the great dancer and 
mime, Ida Rubinstein, and is dedicated to her. It 
was first performed at Basle (Switzerland) on 12 
May 1938. It is largely a dialog between the two 
principal characters, Jeanne d’Arc (Vera Zorina) 
and Frere Dominique (Raymond Gerome), with 
musical background. Interspersed are sections for 
the choirs and numerous characters, both sung and 
spoken. Briefly, Jeanne d’Arc au Bucher might be 
described as a musico'dramatic version of the familiar 
story of Joan of Arc with the emphasis on the mysti' 
cism of this revered French Saint. In addition to 
the inspiring music, the beauty of the French diction 
of the dialog is apparent whether one understands 
French or not. A fine booklet accompanies this set 
of discs giving the complete French text and a 
splendid English translation. 

Here is a prime work of modern art superbly 
performed and recorded. It certainly has our blessing. 


Mendelssohn: Die erste Walpurgisnacht, Op. 60 

(complete). (Sung in German). Annie Woudt 
(alto); Leo Larsen (tenor); David Hollestelle 
(baritone); Netherlands Philharmonic Choir and 
Orchestra conducted by Otto Ackermann. One 
and one'half sides, and Mendelssohn: (5) Songs. 
Uta Graf (soprano) accompanied by Leon Pom' 
mers (piano). M2" disc (*CH'CHS'l 1 59) $5.95. 
CONTENTS: Die Jiebende Schreibt; T^eue Liebe; 
Schilflied; Der M ond; Auf Fluegeln des Gesanges. 

The night between April 30th and May 1st is, in 
Germany, called the W alspurgisnacht as being de' 
voted to Walpurga or Werburga, a British Saint, 
sister of St. Boniface, the apostle of Germany. In 
the popular tradition it is supposed to be the night 
for great festivals of devils and witches on the 
mountains of the Hartz. Goethe’s poem, The First 
Walspurgis Night, set to music by Mendelssohn, 
describes the origin of the festival or, more properly, 
the popular superstition. 

Mendelssohn wrote this setting of Geothe’s poem 
in the winter of 18 30' 31 while on a trip to Italy. 
He wrote his sister that it had become a “grand 

cantata with full orchestra’’ and adds “it may turn 
out well.’’ He later (1842) rewrote the work 
drastically, and it is the revised version that is 
is recorded here. 

The piece opens with an overture descriptive of 
“winter changing into spring.’’ Then follows a 
series of choruses and solos — all in the best of taste. 
The music is carefully worked out, but somehow 
does not go very deep and consequently does not 

The performance also fails to impress, but whether 
it is the fault of the artists or the music is difficult 
to determine. The soloists Larsen (tenor), Woudt 
(alto) and Hollestelle (baritone) are only ordinary 
singers. Ackermann and the Netherlands Philhar' 
monic Choir and orchestra impress us as being rou' 
tine in their performance. The net result of so 
much mediocrity needs no description. 

Uta Graf, singing six songs of Mendelssohn, in' 
eluding the thrice familiar Auf Fluegeln des Ge' 
sanges, does well but is in no way exceptional. 
Concert Hall’s recording is good, notes and texts 
are supplied. Better hear this one first. W. 

Flemish Choral Music. Ghent Oratorio Society con' 

ducted by Marcel de Pauw. l'l 2" disc (*ESO' 

514) $5.95. 

CONTENTS: 16th Century Polyphonic Songs: 
O La, O Che Bon Eccho; Serenade van de Land ' 
s\necht; Mille Regrets; Irit Groene. Guitar Inter' 
mezzo: Fiamenga; Gagliarda. Old Flemish Christ' 
mas Songs: Maria die Soude Bethlehem gaen; 

Het was een M aghet Uutvercoren. Old Flemish Love 
Songs: Ic Sag Caecilia \omen; Ic seg adieu; Amoreus 
liede\ijn. Popular Ring Dances; Daer ging ’ hen 
Pater; Reuzelied. Modern Choral Songs: Fantasia; 
Hymne aan de Schoonheid. 

Motets of the Venetian School (16th Century). 

Choir of the Capella di Treviso directed by Mon' 

signor Giovanni d’Alessi. M2" disc (*VX'PL' 

8030) $5.95. 

CONTENTS: Cantate Domino, canticum novum; 
Bonum est confiteri Domino; O sacrum convivium; 
Missa Pater Peccavi (excerpts); Egredimini et videte 
(Andrea Gabrieli, ca. 1510' 1586). Tristes est anima 
mea; O salutaris hostia; Lamentations of Jeremiah — 
Lesson 1 (Giovanni Nasco, d. 1561). Sancti et justi 
(Claudio Merulo, 1533T604). Adoramus Te Domine 
Jesu Christe (Giovanni Matteo Asola, ca. 1560' 
1609). Sancta Maria (Giovanni Gabrieli, 1557' 

This disc of Flemish Choral music (including two 
guitar pieces for diversity, but well integrated) is 
the first recordings to our knowledge, of its type, a 
balanced anthology in small scale which is outstanding 
for its artistic arrangement of selections in a re' 
markably satisfying progression. It is also, inciden' 
tally, one of the few available high fidelity recordings 
of a choral group. 

The Venetian Motets here presented are more or 

* Indicates LP 83 rpm. 
pj Indicates 45 rpm. 


PAGE 10 


The ISlew Records 


less authentically executed but of unsustained in' 
terest because of abnormally heavy sound, due most 
probably to mediocre recording, if not a little to a 
too large chorus. 

Polyphonic Masters of the XVI Century. Graduat' 
ing Class (1948) of the Gregorian Institute, di' 
rected by Dom Ermin Vitry, O. S. B. L10" disc 
(*GIOA'PM'LP'l) $4.75. 

( This annotation is reprinted from the February 
1949 issue. It appeared in this place when the 
original 78 rpm recording of this wor\ was issued .) 

In the foreword to the notes that are supplied with 
it, the object of this important album is nicely 
stated. From the foreword we quote: 

“In order to gain a proper evaluation of the 
musical art of the sixteenth century, we are direly in 
need of recordings which emphasize the true qualify 
cations of this gigantic and yet lofty music. Of the 
many choral recordings available, classic polyphony is 
represented only by scant and timid attempts, often' 
times devoid of the true characteristics of this unex' 
celled period of choral art. The present album brings 
into proper perspective a form of music which has 
considerably deteriorated in modern times, and whose 
acquaintance may restore to contemporary music the 
healthy objectivity which it has obviously lost." 

Most of the selections in this album are for four 
mixed voices and all of them have been edited by 
the distinguished scholar of this musical period, Dom 
Ermin Vitry, O.S.B. We feel that they are authori' 
tative and so recommend them. 

The selections are: O vos omnes (Palestrina); Ave 
vera virginitas (Josquin des Pres); Ecce quomodo 
moritur justus (Palestrina); In pace in idipsum (Or' 
lando de Lassus); Kyrie and Agnus Dei from Missa 
“Ave Maris Stella" (Josquin des Pres); Jubilate Deo 
(Carolus Andreas); and Cantate Domino (L. Via' 


Tchaikovsky — arr. TaneiefF: Romeo and Juliet — - 
Love duet. One side, and Gounod: Romeo et 
Juliette — Non, ce n’est pas le jour (Act IV). 
Jean Fenn (soprano) and Raymond Manton 
(tenor) with the Los Angeles Orchestral Society 
conducted by Franz Waxman. l'l 2" disc (*CL' 
P'8189) $4.98. 

Many years ago, around the late nineties, Gounod’s 
Romeo et Juliette was one of the great favorites — 
rivalling the same composer’s Faust. Such casts as 
the two de Reszkes, Emma Eames and the incom' 
parable Lasalle added much to the glamor of the 
score and, perhaps, concealed some of its weaknesses. 
Nowadays, the opera has fallen into disrepute, and 
its memory survives largely because of many sopranos’ 
fondness for the Waltz Song Je veux vivre dans ce 

Capitol has done opera lovers a real service by 

recording the great fourth act duet, including the 
long orchestral introduction. Musically it is one of 
the high spots of the opera, second only to the 
magnificent Tomb Scene, and is deserving of a more 
extensive acquaintance among students and profes' 
sionals. The singing, by two young American artists, 
Jean Fenn and Raymond Manton, is of a very high 
order — being expressive, understanding and vocally 

The other side is a real curiosity and is, for all 
intents and purposes, a vocal arrangement of the 
popular tunes from the famous Overture 'Fantasia. 
It is curious that Tchaikovsky should have had the 
same idea as the boys in Tin Pan Alley — only he 
was some fifty years ahead of them; he had a right 
to the piece and then never finished or published it. 
It was his friend and pupil, Sergius Taneieff, who 
completed the work using portions of the afore' 
mentioned Overture 'Fantasia. Not to be outdone, 
Conductor Waxman uses a portion of the introduc' 
tion of the Overture in this recording. It all adds 
up to a very interesting and, of course, melodious 
work. Miss Fenn and Mr. Manton, joined on this 
side by Katherine Hilgenberg (who sings the brief 
portions allotted to the Nurse), do another fine job. 

Capitol has recorded both sides in sterling fashion, 
their FDS technique sounding better than ever. Sour 
note: there are very sparse comments on the jacket 
and no texts. W. 


Schubert: Die Winterreise, Op. 89 (complete) 
(Sung in German). Karl Schmitt' Walter (bari' 
tone) accompanied by Hubert Giesen (piano). 
2'1 2" discs in album (*L'LL'702/3) $11.90. 

Recordings of Schubert’s magnificent (there is 
no other word for it) song cycle Die Winterreise 
have been almost as ilhstarred as the tragic subject 
of the cycle. The three previous sets, Carne on 
Westminster (TNR Nov. ’51), Conrad on Vox 
(TNR Aug. ’50) and Hotter on Decca (TNR Nov. 
’51) all left something to be desired. This reviewer 
admits to having strong opinions as to how these 
songs should be sung (largely due to the unforgetable 
Husch recording) and is apt to judge harshly. 

It was, then, with a feeling of “here we go again” 
that he played this most recent recording by Karl 
Schmitt' Walter. Herr Schmitt' Walter, if memory 
serves correctly, sang some Schubert on a Capitol 
disc of a few years back and sang it very well. Now 
in a modern recording his fine baritone sounds ex' 
tremely good and his artistry is of the first order. 

The over'all effect of this performance is one of 
great sincerity and fine musicianship. The soloist 
sings with conviction, expression and understanding 
and is at great pains to realize the essential variety 
of emotional content Schubert wrote in the score. 
His voice is dark in color and even throughout its 
range. In short, he is a lieder singer both physically 



• Indicates LP 88 rpra, 
0 indicate** 45 rpm 


The Nm 'Records 


and mentally. He succeeds not so much by trying 
to sell his voice as he does by re-creating the mood 
of the song. 

In this recording Herr Schmitt- Walter is fortu- 
nate in having an accompanist of high calibre — Hu- 
bert Giesen — who furnishes a support that is impec- 
cable. Fortunate too, is the superior recording job 
furnished by London's engineers. 

The only fly in the ointment (in this imperfect 
world, the flies are always with us) is the reluctance 
of London to supply readable notes and texts. As 
though it were an afterthought, notes (in themselves, 
excellent) and German-English texts are printed on 
the inside of the album covers. The print is so small 
that after reading them one's eyes “bug out like 
a tromped on toad-frog's." 

Nevertheless the set is highly recommended. It 
is the best Die 'Winterreise on LP. W. 

Beethoven Songs. One side, and Brahms Songs. 

Herta Glaz (mezzo-soprano) accompanied by Leo 

Mueller (piano). 1-12" disc (*MGM-E-3012) 


CONTENTS: Anden\en; Ich liebe dich; Mailied; 
J^ur wer die Sehnsucht \ennt ; Kennst du das Land; 
Wonne der Wehmut; Der Kuss (Beethoven). Zige- 
unerlieder, Op. 103 — (8) Songs; T^icht mehr zu dir 
zu gehen, Op. 32, No. 2; W ehe, so willst du mich 
wieder (Brahms). 

Brahms Lieder. Alice Howland (soprano) accom- 
panied by Paul Ulanowsky (piano). 1-12" disc 
( *STRAD-STR-6 1 0 ) $5.95. 

CONTENTS: Alte Liebe, Op. 72, T^o. 1; Sonn' 
tag, Op. 47, No. 3; M ddchenlied, Op. 107, No. 5; 
Von ewiger Liebe, Op. 43, No. 1; Der Gang zum 
Liebchen, Op. 48, No. 1; "Hicht mehr zu dir zu 
gehen, Op. 32, No. 2; Der Kranz, Op. 84, No. 2; 
Immer Leiser wird mein Schlummer, Op. 105, No. 2; 
Botschaft, Op. 47, No. 1; Wenn du nur zuweilen 
lachelst, Op. 57, No. 2; A uf dem Kirchofe, Op. 105, 
No. 4; Dort in den W eiden, Op. 97, No. 4; An die 
Nachtigall, Op. 46, No. 4; Salamander, Op. 10 7, 
No. 2. 

These two lieder recitals offer grounds for an 
interesting speculation on motives or, perhaps, on 
the artistic standards of the issuing companies. In 
one case the recording artist is a singer of above 
average stature and is fairly well known and the 
price is a modest one, $4.85. The other disc features 
a relatively new singer, who reveals little or no 
understanding of her material, and the price is 

Herta Glaz, who made a few records for Victor 
before the war, sings (and very acceptably) seven 
of Beethoven's songs and ten by Brahms. The Beetho- 
ven group includes such favorites as Ich liebe dich, 
A nden\en, 'Wonne der Wehmut, the less familiar 
Kennst du das Land and Mailied, to mention but a 
few. Miss Glaz' singing is marked by a warm expres- 
sive tone that is admirably suited to the subject 

matter. Interpretively the music is presented in a 
mature and intelligent; fashion. The Brahms items 
receive substantially the same treatment and are, 
consequently, a thoroughly pleasant experience. The 
recording is good; Leo Mueller is an extremely able 
accompanist. Texts and translations are given on 
the jacket. 

Alice Howland falls into the growing category 
of singers on records (a group that has increased 
by leaps and bounds since the advent of LP) who 
are neither good nor bad. She approaches these four- 
teen songs as so many words to be pronounced, so 
many notes to be sung. Now fourteen lieder by 
Brahms can be dull when treated so cavalierly — 
and dull is the word for this recital. Miss Howland's 
voice is better than her understanding — she needs 
more training in the interpretive phase of her art. 

The texts of the songs are not furnished — the 
recording is passable. Stradavari should get on the 
beam; at these prices such packaging is inexcusable. 


Mozart: Motet, K. 165 (“Exsultate, jubilate"). 
(Sung in Latin). One side, and Mozart: Die 
Zauberflote — Ach, ich f uhl's. And Mozart: Le 
Nozze di Figaro — Venite, inginocchiatevi. And 
Mozart: II Re Pastore — L'Amero, saro costante. 
Hilde Gueden (soprano) with the Vienna Phil- 
harmonic Orchestra conducted by Alberto Erede. 
1-10" disc (*L-LS-681) $4.95. 

Schumann: Liederkreis, Op. 39. (Sung in German). 
Suzanne Danco (soprano) accompanied by Guido 
Agosti (piano). 1-10" disc (*L-LS-590) $4.95. 
Hilde Gueden is rapidly emerging as one of the 
better lyric sopranos of our time. On this ten-inch 
London disc she offers a series of Mozart pieces and 
all are extremely well sung, particularly as regards 
style. To sing Mozart effectively the artist must 
have musical understanding of uncommon depth 
and this Miss Gueden has. The lovely motet Exsuh 
tate, jubilate is sung exquisitely; but, as if the gods 
saw to it that one did not get too much, this truly 
superior performance is marred by “blasting" towards 
the inside of the record. It is a recording fault that 
could have been avoided. The assorted arias are 
equally fine interpretively and fine examples of Hilde 
Gueden's considerable art. Aside from the defect 
noted above, the disc boasts pretty fair recording. 
Even as it is, the Motet is far superior to any other 
recorded version. 

Vocal gifts of a different nature but of equally 
high calibre are displayed on the second small disc, 
this time the artist is the charming Belgian soprano, 
Suzanne Danco. She has recorded — and very beauti- 
fully — the lovely Leider\reis of Robert Schumann. 
This cycle of twelve songs is Schumann at his lyric 
best, being second only, in this reviewer's estimation, 
to the better known Dichterliebe. Miss Danco has 
all the poise, polish and understanding necessary 
for a successful projection of the warmly romantic 
lieder. The recording has been accomplished in a 

• Indicates LP 885^ rpm. 
0 Indicates 45 rpm. 


PAGE 12 


The Nm R ecords 


technically satisfactory manner. Piano accompani- 
ments that match the soloists mood to perfection are 
supplied by the able Guido Agosti. W. 

Songs of Reynaldo Hahn. Jacques Jansen (baritone) 

accompanied by Jacqueline Bonneau (piano). 

1-10" disc (*L-LS-645) $4.95. 

CONTENTS: (5) Chansons Grises; Quand je 
Fus Pris au Pavilion; L’Incredule; Paysage; Phyllis; 
Si mes Vers Avaient des Ailes; Mai. 

French Art Songs. Jacques Jansen (baritone) with 

instrumental accompaniments. 1-12" disc (*L-LL- 

644) $5.95. 

CONTENTS: Trois Ballades de Franqois Villon; 
Le Promenoir des Deux Amants; Fantoches (Debus- 
sy). Les Cigales; Ballade des Gros Dindons; Villa' 
nelle des petits Canards; Vile Heureuse (Chabrier). 
Chansons M adecasses (Ravel). 

These two discs offer as fine a collection of French 
songs as could be desired. Debussy, of course, is well 
represented elsewhere as is Ravel, but Chabrier and 
Hahn, the latter especially, have been but indifferent- 
ly represented on LP discs. 

Reynaldo Hahn was, to a certain extent, a child 
prodigy. His most famous song, a setting of Hugo’s 
Si mes Vers Avaient des Ailes was written in his 
fifteenth year. All the songs on the Hahn record 
were written before the composer was twenty-six 
years old. This is, to put it mildly, quite an accom- 
plishment. Much of the music partakes of the salon — 
elegant, polished and occasionally superficial; but it 
is never trivial. The five songs from the cycle Chan' 
sons Grises are particularly felicitous. Jacques Jansen 
sings them all with considerable vocal charm, and he 
also is obviously fond of these light but pleasant 
songs written in the Gounod tradition. 

More serious, more pretentious but sometimes not 
as rewarding and seldom as charming are the De- 
bussy songs. The Villon Ballads, however, are to 
be numbered among Debussy’s best contributions to 
the form. Chabrier’s little songs are the precursors 
of the Satie-Poulenc school — humorous and dry, 
but without the irony or bite of the later writers. 
Ravel’s Chansons Madecasses (Songs from Madagas- 
car) have been recorded before, notably by Martial 
Singher. The three songs 7s [ohandove (a tropical 
love song), A oua! (a hymn of hate against the 
white invaders) and the final II est doux are all 
evocative and may be ranked among the best of 
modern French songs. 

Jacques Jansen sings this at times difficult music 
with appropriate style and the necessary conviction. 
His able accompanist in both discs is Jacqueline Bon* 
neau and on the latter disc (in the Ravel songs) she 
is assisted by Maurice Gendron (’cello) and Jean 
Rampal (flute). 

The recording is generally good; there are no texts 
supplied, nor do the reasonably informative notes 
compensate for the omission. W. 

Song Recital. Mme. Geori Boue (soprano) accom- 
panied by Maurice Faure (piano). One side, and 
Operatic Recital. Mme. Geori Boue (soprano) 
with L’Orchestre du Theatre National de l’Opera 
de Paris conducted by George Sebastian. 1-12" disc 
(*UR-URLP-7070) $5.95. 

CONTENTS: Mandoline, II pleure dans mon 
coeur, Vert (Debussy); Clair de Lune, Les roses 
d Ispahan, Au bord de leau (Faure); Chanson 
triste, Phidyle (Duparc); Faust — Ballade: II etait 
un roi de Thule; Faust — Air de bijoux; Herodiade — 
II est doux, il est bon; Louise — Depuis le jour. 

By and large this is one of the more disappointing 
LP discs issued recently. It is a hodge-podge to 
begin with, and Mme. Boue is not able to make 
it hang together. 

The four operatic airs are sung in what can be 
charitably described as routine fashion. One knows 
for certain that the soloist can sing the Faust music 
much better than she does here — Geori Boue is the 
Marguerite in the complete recording of the opera 
by RCA Victor. The big difference between the 
present recording and the complete set is in the 
presence of Sir Thomas Beecham at the helm. The 
Herodiade excerpt is sung with a hard, brittle voice 
that has little of the sensuousness one expects of 
Salome. Depuis le jour from Charpentier’s sole claim 
to fame Louise” is perhaps the best sung of the 
four arias, but it is also the least, musically. 

On the reverse side is a group of French art songs 
ranging from Debussy to Duparc. All have been 
recorded before, most of them sung with more con- 
viction and variety of expression than Geori Boue 
can sum up for this occasion. The various songs 
seem to merge into each other until, at the end of 
the record, one has difficulty in recalling a single 
outstanding rendition among them. 

Considering the lavish praise that has been show' 
ered on the singer, one is at a loss to understand why 
these performances are so dull. Nevertheless, dull 
they are, and only slavish admirers of the soloist 
will, in all probability, be interested. Fair recording 
has been achieved and the texts of all the music 
are included. W. 

Handel: Italian Cantata No. 14 (“Agrippina con- 
dotta a morire”). One side, and Handel: Italian 
Cantata No. 13 (“Armida abbandonata”). (Sung 
in Italian). Agnes Giebel (soprano) with the Ton- 
studio Orchestra (Stuttgart) conducted by Rudolf 
Lamy. And Handel: Italian Cantata No. 17 
(“Pensieri notturni de Filli”). Agnes Giebel (so- 
prano) accompanied by Alfred Mann (recorder), 
Helmut Reiman (violoncello) and Helma Eisner 
(harpsichord). 1-12" disc (*OC-OCS-30) $5.95. 
The preponderance of Handel’s very numerous 
Italian Cantatas — of which about one hundred sur- 
vive — belong to the years of his Italian wanderings. 
The cantatas, writes Herbert Weinstock in his excel- 
lent biography of the composer, “are little known 

PAGE 13 


Indicates LP 88 rpm. 
0 Indicates 45 rpm. 


The New Records 


(and) are in reality only slightly less important in 
the corpus of Handel’s works than Bach’s cantatas 
are in his.” 

The above seeming extravagant statement is amply 
justified by the cantatas recorded for the first time 
on this Oceanic disc. This is a very different Handel 
from the man who wrote the great oratorios and the 
florid Italian operas. The first cantata A rmida abbari' 
donata is a setting of the classical story and is urn 
usual and particularly beautiful because of the re' 
straint with which the rather strong language of the 
text is set. There is an almost Olympian dignity 
about the piece that bears ample witness to Handel’s 
consummate taste and workmanship. Armida abbari' 
donata was copied out in its entirety by Sebastian 
Bach, a fact that indicates he (Bach) must have 
thought very highly of it. The second cantata is a 
delightful Arcadian work Pensieri notturni di Filli 
(Nocturnal thoughts of Phyllis) that is an almost 
perfect invocation of spring. The accompaniment 
of recorder and ’cello is inspired. The last cantata 
recorded here, Agrippina condotta a morire, is more 
dramatic, more pretentious but never descends to 
vulgarity nor “sound and fury” for its own sake. 
Dignity and decency are the keynotes for all these 

For the work of soloist Agnes Giebel and con' 
ductor Lamy one has only the highest praise. Miss 
Giebel has a clear lyric soprano, a voice of the ut' 
most flexibility and extreme purity throughout its 
range. Her sense of style, as well as that of Herr 
Lamy is unerringly accurate. Oceanic’s recording is 
a beautiful job and thus the disc can be unreservedly 
recommended. The texts of the three cantatas are 
included. W. 

Richard Strauss Songs. Anny Felbermayer (so' 

prano), Alfred Poell (baritone) accompanied by 

Viktor Graef (piano). M2" disc (*VAN'VRS' 

431) $5.95. 

CONTENTS: Hat Gesagt — Bleibt’s nicht Dabei, 
Op. 36, 7s [o. 3; Ach Lieb, ich muss nun scheiden, 
Op. 21, 7\ [o. 3; Heim\ehr, Op. IS, No. 5; Die 7\[acht, 
Op. 10, No. 3; Schlagende Herzen, Op. 29, No. 2; 
Schlechtes Wetter, Op. 69, No. 5; Einerlei, Op. 69, 
No. 3; Morgen, Op. 27, No. 4; W interliebe, Op. 48, 
No. S; Ruhe, meine Seele!, Op. 27, No. 1; Waldselig' 
\eit, Op. 49, No. 1; Das Rosenband, Op. 36, No. 1; 
Im Spatboot, Op. S6, No. 3; Nichts, Op. 10, No. 2; 
Traum durch die Dammerung, Op. 29, No. 1; Mein 
Herz ist stumm, Op. 19, No. 6. 

These sixteen songs of Richard Strauss, many 
of which will be new to American music lovers, offer 
something of a problem. To be sure, there are a 
few old favorites, such as Morgen, Ruhe meine 
Seele and Traum durch die Dammerung, but the 
majority are both unfamiliar and, if a few hearings 
may be trusted, musically inferior to the ones that 
have enjoyed the greater popularity. 

Chief interest then centers in the singing, and it 

is exquisite! Anny Felbermayer is as fine a soprano 
as is singing today. Her voice has a quality best de' 
scribed as silvery — it floats over the music in a 
manner almost magical. It would be difficult to im' 
agine a more engaging young singer. 

Dr. Alfred Poell has long been one of this de' 
partment’s prime favorites — second only to Gerhard 
Hiisch as a lieder singer, which is the highest praise 
at one’s command. His diction is perfect, and his 
grasp of the lieder style is one that comes only from 
a high order of intelligence and understanding. 
He has never, to this writer’s knowledge, made 
a poor record, although at times, as in the present 
disc, the material is not always worthy of his obvious 

This record is, as the reader can readily gather, 
one for Strauss enthusiasts, although those who ad' 
mire fine singing per se will get their money’s worth 
too. The recording on the side devoted to Miss 
Felbermayer is very good, but the other, unfortunate^ 
ly, was not good at all, at least on the review 
copy. Texts and translations are furnished. W. 

Folk Songs and Ballads. (Sung in English). Helen 
Traubel (soprano) with orchestra conducted by 
Robert Armbruster. 3'7" discs in box (0V'WDM' 
7013) $3.99. MO" disc (*V'LM'7013) $4.67. 
CONTENTS: Come Again, Sweet Love Doth 
Now Invite (Dowland); Lord Rendal (trad.); Green' 
sleeves (trad.); He’s Gone Away (trad.); The Lone' 
some Road (Austin); Bygone Tunes (Longone); 
I’m Wearin Awa John (Nairn); Son tres mesi, che 
fo il soldato (Italian — sung in English); Come to the 
Sea (Italian); Come Bac\ to Sorrento (de Curtis). 

The songs that Miss Traubel has chosen for this 
LP disc cover a period of over three hundred years 
(John Dowland died in 1626) and represent many 
countries including our own. If it is variety you are 
looking for here it is. We presume that Miss Traubel 
selected a number of songs that appeal to her regard' 
less of whether they were popular in Shakespeare’s 
day or her own. We found some of them interesting 
and some of them not; perhaps you will like all of 
them; if you do, you certainly have a catholic taste. 

Mozart: (30) Pieces for the Piano. Poldi Zeitlin 
(piano). M2" disc (*OPUS'6003) $5.95. 

Schumann: Album for the Young, Op. 69 (com' 
plete). Poldi Zeitlin (piano). M2" disc (*OPUS' 
6004) $5.95. 

Opus Records has added to its series of recordings 
for young students of the piano the two new items 
listed above. The first disc contains thirty short 
Mozart pieces which Miss Zeitlin has edited for her 
forthcoming book, “Young Mozart for the Young 
Pianist.” The second disc contains a complete 
recording of Schumann’s “Album for the Young, 

Indicates LP 88 rpm. 


PAGE 14 

june T he New Records 1953 

Opus 68." This unique work consists of 43 short 
pieces — the first 18 are for more or less beginners 
and the second 25 are for more advanced students. 

These recordings, as were the former ones, have 
been made by the distinguished teacher and pianist, 
Poldi Zeitlin. Miss Zeitlin is a niece and former 
pupil of the late Artur Schnabel, who first interested 
her in editing and recording little pieces of the great 
masters for the use of young pupils of the piano. 

As the first two discs, Tchaikovsky's “Album for 
the Young, Opus 39“ (*OPUS 6001) and Beetho' 
ven: (21) Pieces for Piano (*OPUS 6002), which 
were reviewed in our March 1953 issue, were well 
received by teachers and pupils alike, we feel sure 
that the present discs have a sizable market awaiting 

Organ Music. Robert 'Noehren, playing the organ 
at Grace Episcopal Church, Sandusky (Ohio). 
M2" disc (AUDIOPHILE AP'3) $5.95. 
CONTENTS: Carillon de Westminster (Vierne); 
Legende (Vierne); Prelude and Fugue on B A'C'H 

Organ Music. Robert Noehren, playing the organ 
at Grace Episcopal Church, Sandusky (Ohio). 
M2" disc ( * AUDIOPHILE AP'2) $5.95. 
CONTENTS: Carillon de Westminster (Vierne); 
Legende (Vierne); Scherzetto (Vierne); Divertisse * 
ment (Vierne); (5) Short Choral Preludes (Reger); 
Prelude and Fugue on B'A'C'H (Liszt). 

Organ Music. Robert Noehren, playing the organ 
at Grace Episcopal Church, Sandusky (Ohio). 
2' 12" discs in folder (* AUDIOPHILE AP'4/5) 

CONTENTS: (3) Chorals (Franck); Prelude, 
Fugue and Variations (Franck). 

In the editorial of the April 1953 issue we listed 
a number of selections published by Audiophile 
Records, commenting only on their exceptional range 
and fidelity; undoubtedly these pressings are some 
of the finest technical jobs available today — partial' 
larly the 78 rpm microgroove records. However, in 
view of the fact that Robert Noehren is an organist 
of no mean stature and that little enough of good 
organ music is presently available, we should now 
like to comment on the musical value of the discs 
in the heading above. As a foreword to our remarks 
we should again call our reader's attention to the 
fact that the 78 rpm record (AP'3) listed above is 
a microgroove record, and should be played with 
the same stylus that one uses for LP’s and 45 rpm 
records, setting the turntable, however, for 78 rpm. 

Robert Noehren has appeared on discs before, a 
number of which used the Sandusky organ; but it 
never sounded like this. Here is truly a new high in 

faithful reproduction of a pipe organ. This type of 
reproduction places the listener in the chancel of the 
church rather than in the nave, for there is no 
cloudiness, no disturbing reverberation, nor any 
other distraction from the actual organ tone. The 
organist himself, seated at the console, probably does 
not hear his instrument speaking with the balance 
that we hear on these discs. No organist can help 
being thrilled to the marrow of his bones with these 
records, and we are certain that a large portion of 
all music lovers will find a new appreciation for 
the organ when they hear it on these discs. Any 
mechanical noises heard on these discs are from 
the organ itself, which does not employ a modern 
electric action. This organ, when reconstructed in 
1950, retained the old mechanical action — there are 
many organists who realize the playing advantages 
of a mechanical action. 

Noehren presents the three great organ Chorals 
of Franck, the most distinguished organ music of the 
19th century and among the greatest of Franck's 
compositions. They are supremely beautiful music, 
and Noehren plays them with a strength and clarity 
that is characteristic of this man's work at its best. 
There is no striving for effect, no mannerisms to 
detract from the splendor of the music. Here are 
performances of which any organist could be mighty 
proud. The organ sounds wonderful in every bar 
of this music, with crescendos and full organ effects 
of spine'tingling grandeur. No organ library is 
worthy of the name that does not house this set. 

The single LP disc titled “Organ Music" (*AP'2) 
contains more real organ music from the top drawer. 
We are finally getting some Vierne — the W estminster 
Carillon and the Scherzetto are organists' favorites 
which are mighty welcome on discs. The Reger 
chorahpreludes are also prime examples of well 
constructed organ music, and Liszt's famous virtuoso 
organ piece, while many times previously recorded, 
never had it better than under Noehren's hands. 
We could go on at a great rate, but by now you 
have probably gathered that these discs have our 
unqualified recommendation. S. 

Liszt: Fantasia and Fugue on "Ad nos ad salutarem 

undam.” One side, and Widor: Symphony No. 

9, Op. 70 (“Symphonie Gothique") — Variations. 

Jeanne Demessieux (organ). IT 2" disc (*L'LL' 
697) $5.95. 

Jeanne Demessieux is a typical French virtuoso 
organist who is creating quite a stir among organists 
for the style of her playing. She is a deadly accurate 
player but no dull performer, for her interpretations 
have a flair which is sometimes questionable although 
usually interesting and exciting. The Liszt Ad nos 
is a good vehicle for this performer, and she offers 
a stunning rendition. This old showpiece was pro' 
grammed frequently a few decades ago, and was 
recorded in the old 78'Speed days by some of the 
top recording organists. Here is the first LP version, 


• Indicate* LP 88 ^ rpm. 
0 indicates 45 rpm. 


The N ew R ecords 


a complete performance and a beauty. 

The Fantasia and Fugue, composed in 1850, was 
the first of Liszt’s many organ works and is also 
the largest in scale. It is based on a chorale from 
the first act of Meyerbeer's opera, Le Prophete ; the 
theme is Meyerbeer’s own and not, as has sometimes 
been stated, a traditional chorale. Though designed 
to be played without a break, the work is divided 
into three main sections: the Fantasia proper, a 
central slow section, and the final Fugue. The effect 
of the work is as logical as it is wonderful, for after 
a brilliant fantasia, the calm and meditative Adagio 
brings us one of Liszt’s finest inspirations; the work 
is capped with a magnificent fugue. This fugue is 
a regular four-part work for a while; then the clas- 
sical fugue ends, and the treatment becomes freer 
and freer with all kinds of variations thrown in. 
A powerful climax brings the work to a satisfying 

Widor’s Symphony No. 9, or “Gothic” Symphony, 
for organ consists of four movements, of which the 
Variations form the finale. The movement starts 
out simply, builds up in power and complexity, and 
ends in the simple style of the opening. We enjoyed 
this disc more than any other by Demessieux and 
recommend it to those interested in the material 
recorded. It would be nice if London would let us 
know what organ is being used. However, it is of 
the robust, romantic, church variety, and is very 
well recorded. 


Recorder Music of Six Centuries. Recorder Consort 
of the Musician’s Workshop. 1-12" disc ^CLAS- 
SIC EDITIONS CE-1018) $5.95. 

CONTENTS: Tanzlied (Reuental); Stantipes, 
Saltarello, (3) Italian Villanelas (Anon.); Mes 
Espris (Machault); Gram piant ’ agli ochi (Landini); 
Si je perdu mon ami (Josquin des Pres); Suite of 
Dances (Suzato); (3) German Dances (Praetorius) ; 
Kicercare (Willaert); Fantasia a Tre (Bassano); 
(3) Fantasias (Lasso); Fantasia (Byrd); (2) Fan' 
tasias (Morley); Chromatic Fantasia (Diomede); 
(2) Fantasias (Gibbons). 

Since none of the music on this record was 
written specifically for recorders, and since most 
of it would sound substantially more attractive in 
other settings, we may assume that the chief reason 
for the presentation is simply to provide a recording 
of recorders. Therefore, this disc, (which, incidental- 
ly, is well performed) is predominantly of interest 
to those who are concerned with the instruments 
involved. As a brief anthology of early music it 
proffers only minor values. 


The World’s Encyclopaedia of Recorded 
Music. By Francis F. Clough and G. J. 
Cuming. 890 pp. Sidgwick and Jackson, 
Ltd. (London). Price $17.50. 

The TSjeto Catalogue of Historical Records 
1898-1908/09. Compiled by Robert Bauer. 
494 pp. Published in England. For sale in 
U. S. A. by H. Royer Smith Co. (PhiladeL 
phia). Price $7.25. 

The Gramophone Shop Encyclopedia of Re' 
corded Music (Third Edition) . Robert H. 
Reid, Supervising Editor, 639 pp. Crown 
Publishers (New York). Price $2.95. 

The Victor Boo\ of Operas. Revised and edited 
by Louis Biancolli and Robert Bagar. 
xxiv-f-596 pp. Illustrated. Simon and 
Schuster (New York). Price $3.95. 

Victor Boo\ of Concertos . By Abraham Veinus. 
xxv + 450 pp. Simon and Schuster (New 
York). Price $3.95. 

Collectors Guide to American Recordings 
1895' 1925. By Julian Morton Moses. 
Foreword by Giuseppe De Luca. 200 pp. 
Published by the author. Price $3.75. 

I Hear You Calling Me. By Lily McCormack. 
201 pp. Illustrated. The Bruce Publishing 
Co. (Milwaukee). Price $2.75. 

Records: 1950 Edition. By David Hall, ix + 
524 + xx pps. Alfred A. Knopf (New 
York). Price $6. 

NOTE: All the above books have been reviewed 
in previous issues of The T^ew Records. If your local 
dealer does not stock them, orders addressed to H. 
Royer Smith Co., Philadelphia 7, Pa., will be promptly 
filled. The prices quoted include postage to any point 
within U.S.A. 

The first letters In the record numher Indicate the manufacturer: BG — Bach Guild. BL — Blbletone, C— Columbia. CE— Cetra, CH— Concert 
Hall Society, CL— Capitol, CSM— Colosseum, CRS— Collector’s Record Shop. D— Decca, DL— Dial, ESO— Esoteric, FEST— Festival, 
FOLK — Ethnic Folkways Library, GIOA — Gregorian Institute of America, HS — Hadyn Society, L — London Gramophone, LYR — Lyrl- 
chord, ME— Mercury, OC— Oceanic. OL— L’Olseau Lyre, PE— Period. PH M— Philharmonla, PLM— Polymuslc, REN— Renaissance, SOT— 
Sounds of Our Times, ST R— Stradivari, UR— Urania, V— Victor, VAN— Vanguard, VX— Vox, and WEST— Westminster. 

• indicates LP 83% rpm. 
^ indicates 45 rpm. 


PAGE 16 

The N ew R ecords 


Issued Monthly by 


“The World’s Record Shop ” 


VOL. 21, N07i JULY, 1953 * *n * «»**«. 

F OR many years the Linguaphone Institute 
has been supplying sets of records for learn" 
ing foreign languages. Recently, largely be" 
cause of the many refugees that are coming to 
this country, there has been an insistent demand 
for a quick and simple method of learning Eng" 
lish. Practically all of the refugees expect to 
make the United States their permanent home 
and therefore wish to learn our language as 
quickly as possible. Linguaphone has always 
had sets of records for learning English which 
were sold in various countries all over the world 
but these sets all taught the student to speak 
English as it is spoken by the upper classes in 
England — with the long A sound and with 
been to rhyme with green instead of with sin, 
etc. As the folks who have come to the United 
States wish to speak as we do, an entirely new 
set of records had to be made. This task has 
been accomplished under the direction of W. 
Cabell Greet, Ph.D., of the faculty of Barnard 
college, Columbia University. Thus we have a 
set of records with which to learn “American” 

These sets consist of sixteen 78 rpm discs. 
Thirty lessons are contained on fifteen of the 
discs and the sixteenth record is a phonetic one 
giving the various sounds of the letters in our 
alphabet. The first few lessons are spoken very 
slowly and deliberately — as one would speak 
to a child — but as the lessons progress the 
speakers talk more rapidly as one would speak 
in ordinary conversation. Several voices, both 
male and female, are heard on the records so 
that the student may become accustomed to 
how various persons speak. Thus the trouble 
a young child has who has been taught to talk 
by his mother is avoided; he understands her 
perfectly but has difficulty understanding any" 
one else. 

Sets for learning “American” English are 

available for persons of the following nation" 
alities: Spanish, French, German, Italian, Rus" 
sian and Portuguese. As nothing but English is 
spoken on the records they are the same for all 
students but the text books are in the appropri" 
ate language that the student understands. In 
ordering a set of these records simply request 
the Linguaphone set for learning “American” 
English and mention that it is for a person who 
understands French or German or whatever 
his native language is. 

The price of these sets consisting of the six- 
teen discs, text books and a convenient carrying 
case is $57.50 (postpaid within U.S.A.). 


We are continually receiving requests for 
back copies of The New Records. Most of 
the issues published during the last twenty 
years are available. The price is 10c each. A 
file of all of the available issues (at least 140 
copies) is $5. These prices are postpaid within 

NOTE: Those persons interested in recent 
recordings only may secure all of the issues of 
the last three years beginning July 1950 (36 
copies) at the special price of $2 (postpaid 
within U. S. A.). 


Borodin: Symphony No. 1 in E-fiat. One and one" 
half sides, and Dohnanyi: Symphonic Minutes, 

Op. 36. Bavarian Symphony Orchestra conducted 
by Kurt Graunke. M2" disc (*UR'URLP'7066) 

Dohnanyi: Ruralia Hungarica, Op. 32b. One side, 
and Kodaly: Hary Janos Suite. Philharmonia 
Orchestra conducted byr Wilhelm Schuechter. 
M2" disc (*MGM'E'3019) $4.85. 

The surprise package in this group is the Borodin 
Symphony !Nj [o. 1, coming to light for the first time 
on discs — and the first time in performance for most 
of us. Borodin is a highly respected composer con' 
sidering the few works which he contributed, among 

july ’like INI e w Records 1953 

which is the well known Symphony 7s [o. 2. While 
the present symphony may not be the equal of the 
familiar Second, it is nevertheless a fine work. The 
29-year-old Borodin, under the tutelage of Balakirev, 
set to work on the First Symphony in 1862, but 
five years passed before its completion. Balakirev 
himself conducted the first performance, and in a 
dozen years it was one of the first large-scale 
orchestral works by a Russian to win a wide Euro- 
pean success. 

The thematic material is good, and it is worked 
out extremely well. There is a nice rhythmic quality 
and drive to the score, with a fair amount of Rus- 
sian flavor (of that day). The neglect of this work 
is unexplainable, for it has a lot of appeal. Kurt 
Graunke and the Bavarian Orchestra provide a 
telling account of the music, playing with fervor 
and conviction — a brilliant performance that is 
admirable in every respect. The reproduction is 
good. The second side filler is an innocuous affair, 
slightly sub-standard Dohnanyi but pleasant, any- 
how. It is in four short movements: Capriccio, light 
and playful; Rhapsody, folksongish and pastoral; a 
double movement Scherzo and Theme and Varia- 
tions; and lastly a gay Rondo in perpetual motion 
manner. Graunke does another splendid job with 
this music too; judging by this disc, Graunke is a 
top-notch conductor. 

Ruralia Hungarica is a fine work by Dohnanyi, 
first written as a piano suite of the same title and 
orchestrated a year later (five of the seven move- 
ments only were orchestrated). It is performed both 
ways these days; this is its first complete recording. 
Schuechter and the Philharmonia play it nicely. 
Schuechter tackles the brilliant Hdry Janos Suite 
bravely and turns in a remarkably fine performance, 
individual in at least one respect: he does not race 
the Intermezzo, preferring a slower and more roman- 
tic approach which results in a valid reading of 
great impact. We think Ormandy generally has the 
better of it in this work (*C-ML-4306), but we 
can give Schuechter a lot of credit. MGM's repro- 
duction in this disc is their best so far; they reversed 
the disc labels on our copy. S. 

Mozart: Symphony No. 40 in G minor. New 

Orchestral Society of Boston conducted by Willis 

Page. 1-10" disc (*SOT-2065) $4.80. 

The New Orchestral Society of Boston is a sym- 
phony orchestra composed entirely of top-ranking 
orchestral players. We would assume they are drawn 
largely, or entirely, from the Boston Symphony 
Orchestra. Willis Page is a guest conductor of the 
summer Esplanade Concerts of the Boston Pops 
Orchestra, director of the St. Cecilia Choral Society 
of Boston, and the Little Symphony Society of 
Boston. Pierre Monteux was his artistic mentor. 
This is considered a musicians' orchestra, and we 
are told this whole set-up is something very special. 

The records in this series are packaged in a 

sealed plastic envelope inside the usual type of 
jacket. With each disc is a “certificate of range” 
which warrants the dynamic and frequency ranges; 
the frequency range of the recording apparatus is 
at least 25,000 cycles per second. As we are learn- 
ing these days, frequency range is not the only thing 
that makes a pleasant and lifelike sound on records, 
for balance and other things contribute to the illusion 
of a full symphony orchestra. Emory Cook of Sounds 
of Our Time Records has produced a record that 
is indeed brilliant, but also nicely balanced, of 
faithful timbre, and pleasing to the ear. The clarity 
of the orchestra is most striking. The finer your 
equipment, the better this disc will sound; on small 
reproducers, you will enjoy this disc most with the 
treble control turned back a bit. 

As for the performance of the work — and that 
counts too, for many of us — we must admit Page is 
quite a conductor, and the orchestra plays with splen- 
did qualities of tone, precision, and style. We were 
most enthusiastic about the disc until we hit the 
final movement, and at that point we were less than 
completely satisfied. You may not find this movement 
too fast and lacking in perspective, in which case this 
is a fine recording. We still think that for the best 
interpretation on LP discs, and for a mighty fine 
reproduction, Dorati and the Minneapolis Symphony, 
complete on one side of a twelve inch disc, still rate 
tops (*ME-MG-50010). S. 

Prokofiev: Symphony No. 7, Op. 131. Philadelphia 
f Orchestra conducted by Eugene Ormandy. One 
‘'Lside, and Prokofiev: Lieutenant Kije Suite, Op. 
\ 60. Royal Philharmonic Orchestra conducted by 

Efrem Kurtz. 1-12" disc (*C-ML-4683) $5.45. 

The first American performance of the Prokofiev 
Symphony 'FJo. 7 was given by The Philadelphia 
Orchestra, conducted by Eugene Ormandy, in April 
1953. It was composed in 1952 and was first pre- 
sented on October 11 in Moscow. Columbia is to 
be congratulated for losing no time in making this 
fine recording available. You will be surprised on 
hearing this work to find it strikingly simple, un- 
affected, pleasant and genuinely easy to enjoy on 
first hearing. There is no striving for new effects. 
We would call it a good, solid symphony by a 
master of the craft. Whatever Prokofiev was, or 
had been, and whatever the Russians’ interpretation 
of the content of his works, we will avoid discussing, 
for this work is so obviously pleasing that other 
considerations are only a waste of words. We feel 
certain there is a minimum, if any at all, of political 
thought or nationalistic feeling in this score. This is 
in line with a quotation from Pravda which we find 
on the cover notes, discussing the traditional four 
movements: “The first movement ranges from a 
children’s fairy tale through romantic dreams to the 
first active aspirations of youth. The second is a 
symphonic waltz; the third is a brief but deeply lyric 
and expressive movement. The fourth combines the 
moods of a gay dance and an energetic march, spiced 

• Indicate* LP 88 5 ^ rpm. 
Indicate* 45 rpm. 




The ISlew R ecords 


with the humor and droll wit which appears so fre* 
quently in Prokofiev’s music.” We would add that 
this humor and wit, while characteristic of good 
Prokofiev music, is not of the biting satire variety 
found in some of his, and other modern Russian, 
works. We have nothing but enthusiasm for this 
fine new symphony, and for the superb performance 
which Ormandy and the Philadelphians deliver. Even 
for a new and unfamiliar work, we have the feeling 
this rendition would be mighty difficult to better. 
The reproduction is tops, too. 

Lieutenant Kije is available in two other fine 
recordings, each with worthwhile couplings. How' 
ever, since the principal interest in this disc is the 
symphony, we will merely say that Kurts’ reading 
is highly competent, comparing favorably with either 
of the others, and well recorded. If you are after 
Lieutenant Kije, and not the Seventh Symphony, 
you may wish to compare this one with Desormiere 
(*CL'P'8149) and with Scherchen (*WEST'WL' 
5091). S. 

Beethoven: Symphony No. 9 in D minor, Op. 125 

(“Choral”). Elisabeth Schwarzkopf (soprano), 
Elisabeth Hongen (contralto), Julius Patzak 
(tenor), Hans Hotter (baritone) with the Choral 
Society of the Friends of Music (Vienna) and the 
Vienna Philharmonic Orchestra conducted by 
Herbert von Karajan. Three sides, and Beethoven: 
Symphony No. 8 in F, Op. 93. Vienna Philhar' 
monic Orchestra conducted by Herbert van Kara' 
jan. 242" discs in album (*C'EL'51) $7.25. 

Now that Toscanini has come as close to the Hinth 
as he can, the air has been cleared for somebody 
actually to come close to it. That somebody, we think, 
is Herbert von Karajan, whose recording for Colum' 
bia is probably the best over'all version available. 
The team of Schwarzkopf, Hongen, Patzak and 
Hotter, beyond being able to cope with their parts, 
is truly excellent. The Vienna Philharmonic has 
never sounded better, nor could it nor the Choral 
Society of the Friends of Music be more responsive 
to von Karajan’s exacting demands. 

The first movement is squarely played in tradi' 
tional fashion without quite fully realizing the ulti' 
mate tragic possibilities that only Scherchen 
(*WEST'WAL'208) has portrayed. The scherzo 
is slightly fussy with unnecessary dynamics. The 
adagio, however, is the most exquisite one we have 
heard. And the choral movement, if only because 
it is the only one to be performed accurately, is 
without competition; which is merely a minimum 
criticism, a more significant statement being that 
von Karajan sets forth in that section an organic 
unity and over'all rightness that is unique among 
the recorded versions of this work and would be 
rare in any performance. 

Those who have felt that Beethoven’s Eighth Sym' 
phony is greater than most conductors will permit 
it to be will here find justification for their belief. 
This, the last of Beethoven’s classical symphonies, 

under von Karajan’s direction sounds truly like the 
spirit and summation of its formal type. The first 
movement contains a fusion of power and lightness 
that is remarkably removed from the usual hurried, 
noisy performance. The other three movements 
are taken leisurely but economically and are sonically 
meaningful such as no other performance we have 
heard. Withal this recording contains a musical 
insight that is rare. C. 

Dixieland Jazz (Vol. II). Harry Blons and his Dixie' 
land Band. M2" disc (AUDIOPHILE AP'6) 

CONTENTS: My Inspiration ; Dallas Blues; 
Clarinet Marmelade ; My Bonnie Lies Over the 
Ocean; Just a Closer Wal\ with Thee; Panama. 

Dixieland Jazz (Vol. III). Loring “Red” Nichols 
and His Band. M2" disc (AUDIOPHILE AP'7) 

CONTENTS: Three Blind Mice; Memories of 
You; Manhattan Rag; Easter Parade; Tin Roof Blues. 

Dixieland Jazz (Vol. IV). Loring “Red” Nichols 
and His Band. M2" disc (AUDIOPHILE AP' 
8) $5.95. 

CONTENTS: Peaceful Valley; Candlelights; I'm 
on the Gravy Train; Cor\y; I Cant Believe that 
You’re in Love with Me; Rondo. 

In the April 1953 issue, when we reviewed an 
LP disc entitled “Ellington Uptown” (*C'ML'4639), 
we stated that “ . . . there has been considerable 
clamoring among jazz enthusiasts for the issuance 
of good jazz on wide range records.” In the same 
issue we announced, editorially, the availability of 
“Dixieland Jazz” (Vol. I) issued by Audiophile 
Records, commenting at some length on its excep' 
tional fidelity and wide range, but not on the music 
at all. 

We can now announce the availability of the 
three 78 rpm micro groove records listed above, one 
by Harry Blons’ Dixieland Band and two by “Red” 
Nichols and His Band. They are surely up to Volume 
I fidelity'wise, and they are good jazz. The pur' 
chaser will find, however, that Audiophile is an apt 
name for the publisher of these discs, because not 
one word appears on the jackets or labels about the 
personnel of the bands; as a matter of fact, we had 
to look in an old copy of Hot Discography to dis' 
cover that Loring Nichols was, in fact, the “Red” 
Nichols with whom most jazz; fans are familiar. All we 
can tell you is that Nichols’ band seems to consist 
of a bass saxophone, clarinet, piano, guitar, drums, 
and alto saxophone, along with Nichols’ cornet; 
Blons’ outfit is similar but has no bass sax, but in' 
eludes a trombone and possibly a bass viol. 

The playing is relaxed; the boys seem oblivious 
to what must have been considerable care on the 
part of the recording engineer to have captured 
with such remarkable fidelity all the sound on these 
discs. Plenty of “kicks” here, both for the jazz and 



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july The N ew R ecords 1953 

hi-fi fans. Recording characteristic are given on 
the jackets of these discs. 

We reiterate that these are 78 rpm microgroove 
discs, and therefore must be played with the same 
stylus used for LP records (.00 1"). J- 

Mahler: Symphony No. 1 in D (“The Titan ). 
Symphony Orchestra of Radio Berlin conducted 
by Ernest Borsamsky. 1-12" disc (*UR-URLP- 
7080) $5.95. 

Mahler: Symphony No. 1 in D (“The i itan ). 
Symphony Orchestra of Radio Berlin conducted 
by Ernest Borsamski. 1-12" disc (*VAN-VRS- 
436) $5.95. 

Mahler: Symphony No. 1 in D (“The Titan’ ). 
Pro Musica Symphony, Vienna, conducted by 
Jascha Horenstein. 1-12" disc (*VX-PL-8050) 

For a long time Mitropoulos has had the field 
to himself with the Mahler First (*C-ML-4251), 
and it has been considered a good performance. 
Now we have three new discs of this work, repre- 
senting two new versions. How Urania and Van- 
guard appear with the same performance is more 
than we can fathom, but a careful check convinces 
us these are one and the same. In the matter of 
reproduction, however, Vanguard has transferred 
the tape to disc with a far more brilliant effect than 
Urania. On our machine, the Vanguard was shrill 
and strident, and actually unpleasant in many pas- 
sages; Urania transfers at a lower level, and on most 
machines this disc will sound better. As for Vox, 
their disc sounded best of all, and we were inclined 
to prefer Horenstein’s reading. Borsamsky does this 
work in a more straightforward manner, with less 
posturing, heroics, and rhetoric, but Horenstein is 
nevertheless more convincing to our ears. If you 
like Mahler tightened up a bit, take Borsamsky; if 
you like it played “eloquently” and with plenty of 
breadth, Horenstein will thrill you. Comparing these 
two with Mitropoulos, Mitropoulos appears more 
tightly knit and more dramatic than either of them, 
but his reproduction is not as vivid as the newer 

This is a highly interesting score and one which 
those who generally do not care for Mahler, and 
his later and larger works, may well enjoy. All of 
the recordings have adequate program notes which 
convey an idea of the score, the story of the ironic 
funeral march third movement, and other of Mahler’s 
ideas. Anyone who likes a wild and heroic ending 
to a symphony will find a super creation as the crown 
of this symphony, and here again Horenstein separ- 
ates the threads better than the others. S. 

Scriabin: Poeme d’Extase, Op. 54. One side, and 
Loeffler: A Pagan Poem, Op. 14. Paris Philhar- 
monic Orchestra conducted by Manuel Rosenthal. 
1-12" disc (*CL-P-8188) $4.98. 

Capitol does us a fine service by recording Loef- 

fler’s Pagan Poem. Charles Martin Loeffler came from 
Alsace to America as a young man, and here devel- 
oped a sensitive and original talent. He was a pains- 
taking craftsman; the Pagan Poem, for example, 
was originally written for a small chamber group of 
piano, viola, bass, five woodwinds and five brass and 
later arranged for piano and three trumpets. After 
experimental performances with these instrumenta- 
tions, the composition was finally expanded to sym- 
phonic proportions and thus presented for the first 
time late in 1907 by the Boston Symphony Orches- 
tra. Loeffler played first violin with the Boston or- 
chestra for more than a score of years. 

A Pagan Poem was suggested to the composer by 
the two love songs of the eighth Eclogue of Virgil, 
sometimes called “The Sorceress.” The poetry tells 
of a Thessalian girl’s attempt to win back her lover 
through magic spells and incantations, and of her 
warm and exultant success. 

The Russian, Alexander Scriabin, was a deeply 
thoughtful person, seriously concerned with the 
philosophical problems of life. Through music, he 
felt, the emotional aspects of his philosophy could 
best be communicated, and in The Poem of Ectasy 
he sought to describe the joy of unrestrained creative 
ability, his highest goal. In this subjective realm he 
wisely avoided too clearly defined a program for 
the music. He gave the music three divisions, but 
was not content to rely on the music alone to trans- 
mit the message, so he wrote a lengthy poem to 
accompany the orchestral composition. 

Manuel Rosenthal, talented conductor of the Paris 
Philharmonic, performs this music with distinction 
and it is recorded excellently. Both works appear on 
LP for the first time. The jacket notes sum it up 
well by saying: “The two works in this album have 
come from opposite sides of the globe, yet they are 
strangely similar in their titles and in their lush 
and sensuous nature — and they made their orchestral 
debuts only a year apart. Their two widely separated 
composers came by different routes to a single aspira- 
tion: to express strong passion in a fresh manner, 
without the cloying sentimentality of the day.” S. 
Swanson: A Short Symphony. One side, and Kup- 

ferman: Little Symphony. Vienna State Opera 

Orchestra conducted by Franz Litschauer. 1-12" 
disc (*VAN-VRS-434) $5.95. 

We have to thank the discerning Franz Litschauer 
for making available the first recordings of works 
by these two important American composers, and 
we salute Vanguard for importing the tapes and 
releasing this LP disc so promptly on this side of 
the Atlantic. Now Swanson and Kupferman will 
not be just names to music lovers in our country — 
samples of their work in the field of symphonic 
music are now at hand for our study and appraisal. 

Howard Swanson was born in Atlanta, Georgia, 
in 1899. A graduate of the Cleveland Institute of 
Music, he was awarded a Rosenwald Fellowship and 
studied with Nadia Boulanger in Paris. He returned 

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The N ew R ecords 1953 

to the United States in 1941 and since that time 
has devoted himself entirely to composition. He has 
composed in many forms, but he is best known for 
his songs and the present A Short Symphony. This 
latter work dates from 1948 and was first performed 
by the New York Philharmonic'Symphony under 
Mitropoulos during November 1950. Since that time 
it has appeared on the programs of nearly every 
important symphony orchestra in this country. It is 
a great favorite of Charles Munch and Eugene 
Ormandy and has appeared on their programs a 
number of times. At a recent performance by the 
Philadelphia Orchestra, the distinguished writer on 
musical subjects, Charles O’Connell, said in his 
notes for this concert: “the Short Symphony is often 
song-like; indeed, one eminent critic has referred to 
Swanson as ‘an American Faure.’ His ideas of har- 
mony are individual, perhaps daring, certainly not 
drastic and nowhere in the Short Symphony is there 
evidence that he has employed harmonic novelty for 
its own sake.” 

Meyer Kupferman was born in New York in 1926. 
He graduated from the High School of Music and 
Art in 1943. At present he is teaching composition 
and chamber music at Sarah Lawrence College. 
Despite his youth he has already to his credit a 
number of compositions in various forms: orchestral, 
choral, operatic and chamber music. T he Little 
Symphony was commissioned by Daniel Saidenberg 
and was given its first performance under his direc- 
tion during November 1952. During February of the 
present year it was most successfully performed by 
the Los Angeles Symphony under the direction of 
Alfred Wallenstein. This work has been called 
“The American ‘Classical Symphony.’ ” Like Proko- 
fiev’s masterpiece, Kupferman’s opus is a modern 
throwback to the era of Mozart and Beethoven. 

Certainly both of these compositions are worthy 
of being recorded, and we are happy to be able to 
bring them to the attention of our readers. R. 
Schonberg: A Survivor from Warsaw, Op. 46 
and Schonberg: Kol Nidre, Op. 39. Hans Jaray 
(narrator), Academie Chamber Chorus and Vien- 
na Symphony Orchestra conducted by Hans Swar- 
owsky. One side, and Schonberg: Chamber 
Symphony No. 2 (1939). Vienna Symphony 
Orchestra conducted by Herbert Hafner. 1-12" 
disc (*C-ML-4664) $5.45. 

One of the most valuable Schonberg LP’s yet 
released, this one contains three of his most sig- 
nificant works. The Second Chamber Symphony, 
started in 1908 but unfinished until 1939, has 
much of the spirit of the Serenade for Septet and 
Baritone Voice — but without the latter’s intensity 
or economy, being more an example of the style 
that was to reach its full fruition in that Serenade. 

A Survivor from Warsaw (1939), a cantata for 
the Koussevitzky Foundation, text by the composer, 
relates the tale of a survivor of a Nazi death march; 
Kol 'H.idre (1946), of course, is based upon the 

traditional Jewish prayer. Both are taut with a 
dramatic cogency that creates an atmosphere at times 
almost suffocating. Rarely has there been a fusion of 
recitation and music as organically correct as these. 
Orchestrally, these works represent what is probably 
the most direct and effective scoring Schonberg has 
ever executed. Performances, throughout, are expert 
and apparently flawless. C. 

Folksongs from the British Isles (arr. Gibbs). West- 
minster Light Orchestra conducted by Leslie 
Bridgewater. 1-12" disc (*WEST-WL-4003) 

CONTENTS: I Am the Boy for Bewitching 
Them, Over Here, Planxty Kelly, Get Up Early, 
Gentle Maiden, Sentry Box (Irish); Ballad of Tar' 
row (Scottish); Have Tou Seen but a White Lillie 
Grow, Drin\ to Me Only, When Dull Care, Waly 
Waly, Oyster Girl (Old English); Hares on the 
Mountain, Lord Rendal, Green Broom (Somerset). 

Music by Strauss and Gungl. Westminster Light 
Orchestra conducted by Leslie Bridgewater. 1-12" 
disc ( *WEST-WL-4004) $4.95. 

CONTENTS: Artists Life, Ritter Pazmann — 
Czardas (arr. Goehr), Pizzicato Pol\a, Fledermaus — 
Walzer (arr. Goehr) (Strauss); Soldatenlieder Wab 
zer, Amoretten Tdnze, Hydropathen Walzer, Casino 
Tanze (Gungl). 

Entering the field of recorded light music, West- 
minster brings to that phonographic area the high 
standards of quality and taste that it has exercised 
in the classical field. It has brought, too, an excellent 
high fidelity recording technique which generally, 
heretofore, has been restricted to classical recordings, 
rarely being extended to semi-classical discs. Mainly, 
however, it has provided a kind of light music 
which is the product of untainted old world color 
and culture, played by musicians intimately familiar 
with this kind of pleasure, which has rarely been 
made available to American audiences. 

The Strauss-Gungl disc (Gungl was a Viennese 
composer who, having spent a good part of his life 
in England, “transmitted the Viennese gaiety to the 
British Isles”) is executed by a small group whose 
sound is relaxed, intimate and vastly removed from 
the industrial Boston Pops style. Fol\songs of the 
British Isles is a fresh and unpretentious presenta- 
tion of native tunes the simplicity and originality of 
which are a change from most light music recordings 
in which the niceties are usually invisible under 
orchestral mascara. This is music for those who 
wish to relax but not to go to sleep. G. 

Shostakovitch: Ballet Russe. One side, and Tchai- 
kovsky: Serenade Melancolique and Tchaikovsky: 
Symphony No. 1 in G minor, Op. 13 — Andante. 

Columbia Symphony Ofchestra conducted by 
Efrem Kurtz. 1-12" disc (*C-ML-4671) $5.45. 
The Ballet Russe, which dates from 1950, is a 
dance suite that Shostakovitch is said to have written 



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The N^ze; R ecords 


to attract as wide an audience as possible. It there' 
fore abounds in many lively and tuneful melodies — 
just the sort of gay music that anyone may enjoy. 
It probably won’t add anything to his musical stature, 
but it will certainly attract a number of listeners who 
might pass it by if it were a bit more profound. 
This is the first recording of Ballet Russe, and Column 
bia is to be congratulated for assigning this record' 
ing to the brilliant director of ballet music, Efrem 
Kurts. Mr. Kurts gives it everything he has; and 
that is a lot, as those who are familiar with his 
many other ballet music recordings well know. 

The pleasing Tchaikovsky selections that occupy 
the reverse side of this disc are highly acceptable, 
but it is the dassling recording of Ballet Russe that 
will put this record on the best sellers list. 
MacDowell — arr. Camarata: Woodland Sketches, 
Op. 51. Camarata and His Orchestra. MO" disc 
(*D'DL'4059) $2.50. 

Camarata has made a highly acceptable orches' 
tral arrangement of the complete Woodland S\etches 
by the American composer, Edward MacDowell, and 
with his splendid little orchestra has recorded it. 
This suite is composed of ten short selections, the 
best known of which are To a Wild Rose, In Autumn 
and To a Water Lily. If you are in the mood for 
such pleasing melodic music, the present inexpen' 
sive little disc should prove attractive. 

Gypsy Songs. Antal Kocze (“King of the Gypsies”) 
and His Band. MO" disc (*WEST'WL'3001 ) 

CONTENTS : Hora; Sad Sunday; Romance le Lac 
and Blas\ovicz Walzer; Hungarian Song ; Magyar 

This charming little LP disc contains some Hun' 
garian gypsy music par excellence! It is played by 
Antal Kocze and His Band, which has been the 
featured attraction at the famous Monseigneur Bar 
in Vienna for many years. This small cafe is 
known to both tourists and natives, who crowd it 
nightly principally to listen the music of this unique 
ensemble consisting of two violins, viola, violoncello, 
contrabass, piano and cymbalom. 

Rhapsodies for Piano and Orchestra. Morton Gould 
(piano) conducting His Orchestra. M2" disc 
(*C'ML'4657) $5.45. 

CONTENTS: Fascinatin Rhythm, Someone to 
Watch Over Me (Gershwin); All the Things T ou 
Are (Kern); My Ship (Weill); Waltz Rhapsody 
(from “Oklahoma”), A Wonderful Guy, Hello 
Young Lovers, It's a Grand "Flight for Singing, If 
I Loved You (Rodgers); I Cant Get Started (Duke). 

The ingenious Morton Gould has taken several 
popular songs and arranged them for piano and 
orchestra in the form of rhapsodies. Mr. Gould then 
seats himself at the piano and directs his orchestra 
in thrilling performances of these intriguing works. 
We found them quite fascinating — perhaps you 
will too. 

Dvorak: (4) Slavonic Dances. One side, and 
Enesco: (2) Rumanian Rhapsodies. Indianapolis 
Symphony Orchestra conducted by Fabien Sevit' 
zky. M2" disc (*CL'S'8209) $5.72. 
CONTENTS: Slavonic Dances Flo. 1 in C, Op. 
46; F{o. 2 in E minor, Op. 46; Flo. 4 in F, Op. 46; 
Flo. 8 in G minor, Op. 46 (Dvorak). Rumanian 
Rhapsodies Flo. 1 in A, Op. 11; Flo. 2 in D, Op. 11 

Fabien Sevitzky is an ideal conductor of this 
Dvorak and Enesco music, and he has achieved 
performances with his Indianapolis Symphony that 
will be hard to equal. Fine reproduction is an 
added feature of this attractive LP disc. 

Gershwin: An American in Paris. One side, and 
Gershwin: Rhapsody in Blue. Elite Concert 
Orchestra conducted by Max Marschner, with 
Gerhard Stein (piano). M2" disc (*AL'AL' 
3063) $2.95. 

Here is a very good inexpensive LP disc con' 
taining two of Gershwin’s most popular pieces. 
As such we do not hesitate to recommend it. 


Liszt: Concerto No. 1 in E-flat. One side, and 
Liszt: Hungarian Fantasia. Claudio Arrau (pi' 
ano) with the Philadelphia Orchestra conducted 
by Eugene Ormandy. M2" disc (*C'ML'4665) 

Another recording of the so'called “Triangle” 
Concerto follows hard on the heels of the Iturbi issue 
of a few months ago (*V'LM'1734). This time we 
have a better orchestra, a better conductor, and a 
better recording balance. There may be something 
to be said for the soloist conducting his own accom' 
paniment, but in most cases there is a lot more to be 
said for a good conductor who knows his trade to 
conduct the accompaniment for any soloist. In this 
case, we have just such a conductor, and he is in 
close rapport with his soloist. The orchestra plays 
with the flair you expect from this renowned group, 
and the results are better than Iturbi managed in 
the dual job. There are many noticeable points when 
one compares these two discs. The matter of balance 
between orchestra and soloist is not alone the engi' 
neer’s concern in a recording — the conductor still 
has plenty to do in this respect. And the matter of 
balance within the orchestra is the conductor’s busi' 
ness too; you can hear good examples of this in the 
little scherzo. This corresponds to the third move' 
ment; in this work, it is the third section, wherein 
the triangle gets to work and provides the issue which 
led to the nickname of the concerto. In this section 
Ormandy’s accompaniment is perfectly proportioned 
and adjusted. The quality of piano tone is notably 
fine on both sides of this disc. We would give the 
present disc top billing among the many recorded 
versions, for Arrau plays with demoniac precision 

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The Nw Records 


and vigor. 

Arrau performs the Hungarian Fantasia with the 
same bravura that he does the concerto, and Ormandy 
and the orchestra are in there pitching with all their 
might and main. This, to us, was an even more 
thrilling workout than the concerto — some of the 
piano passages which Arrau tosses off are breath' 
taking. Here is a disc which will appeal to those 
who like brilliant technical display; they will get it 
from Arrau, with some extra thrills thrown in by 
Ormandy and his boys. S. 

Elizalde: Concerto for Violin and Orchestra. Chris' 
tian Ferras (violin) with the London Symphony 
Orchestra conducted by Gaston Poulet. 1" 10" disc 
(*L'LS'564) $4.95. 

Federico Elizalde was once well known to a public 
different from that which, gathered at the 1936 
Festival of International Society of Contemporary 
Music, heard a Sinfonia Concertante by this repre' 
sentative of Spain. It is a far cry from that distin' 
guished occasion to those numerous appointments 
kept by a delighted radio and phonograph public 
with “Fred Elizalde and his Music,” away back in 
the early days of British broadcasting. In 1931 he 
threw up this very profitable career for that of a 
composer of serious, large'scale works. He studied 
in his native Spain with Falla and Perez Casas, and 
in San Francisco with Alfred Hertz. Elizalde now 
lives in France. 

The Violin Concerto is in three movements. It has 
the spirit of Spain in it, but is not dependent on 
native material. The scoring is bright and the violin 
writing is attractive, with but a modest touch of 
what we might call the modern idiom. Harmonically 
it is rather conventional; for the most part we would 
deem it a work mostly in the romantic vein. London 
breaks the second movement, an occasional habit 
of theirs, which is justified in this case only because 
it prevents coupling another piece with this work. 
Christian Ferras is a talented young fiddler who plays 
this work with technical proficiency and an obvious 
belief in it, a greater belief than his accompanying 
forces. We would not hail this concerto as another 
in the procession of great violin concertos by Men' 
delssohn, Beethoven, Brahms, through Prokofiev; but 
you may find it diverting on a warm summer evening. 



Beethoven: Quartet No. 14 in C-sharp minor, Op. 
131. The Paganini Quartet. 4'7" discs in box 
(0V'WDM'1736) $5.14. M2" disc (*V'LM' 
1736) $5.72. 

And now we have another recording of Beetho' 
ven’s Quartet, Opus 131. The competition will be 
Columbia’s recording by the Budapest Quartet. We 
might spend considerable space making a written 
comparison, but the net result would only be our 
personal opinion. As both versions are readily avail' 

able at your favorite record shop, we feel that 
it is better if you will make your own comparison. 
If this is not practical, you won’t go far wrong no 
matter which recording you select; both the Buda' 
pest and Paganini ensembles are top'flight musical 

Rossini: Sonata for Violin, Violoncello and Double 
Bass. And Concerto in C minor for Oboe and 
Strings (Anon.). One side, and Cambini: Con- 
certo in G for Piano and Strings. And Bonporti: 
Recitative for Violin and Strings. Virtuosi di 
Roma directed by Renato Fasano. M2" disc 
(*D'DL'9674) $5.85. 

The Virtuosi di Roma, referred to by Toscanini 
as “the greatest instrumental ensemble of this age,” 
needs neither introduction nor praise. Their reputa' 
tion has been as brilliantly sustained as it was brib 
liantly established. It is therefore necessary only 
to report that the anonymous Oboe Concerto is the 
one which on two other and inferior recordings is 
credited to Benedetto Marcello; the Rossini work 
displays that composer's theatrical qualities in clas' 
sical form; the Cambini Concerto is a strict eighteenth 
century work with anachronistic romantic moments; 
and the Bonporti Recitative is one of those remark' 
able string pieces which sounds as dateless as it does 

Schubert: Rondo Brilliant in B minor, Op. 70. 

Joseph Szigeti (violin) and Carlo Bussotti (piano). 
One side, and Beethoven: Sonata No. 10 in G, 
Op. 96. Joseph Szigeti (violin) and Mieczyslaw 
Horszowski (piano). M2" disc (*C'ML'4642) 

Beethoven: Sonata No. 1 in D, Op. 12, No. 1. 
One side, and Beethoven: Sonata No. 10 in G, 

Op. 96. Jean Fournier (violin) and Ginette Doyen 
(piano). M2" disc (*WEST'WL'5176) $5.95. 

Beethoven: Sonata No. 6 in A, Op. 30, No. 1. 
One side, and Beethoven: Sonata No. 4 in A 
minor, Op. 23. Jean Fournier (violin) and Ginette 
Doyen (piano). M2" disc (*WEST'WL'5164) 

Mozart: Sonata No. 33 in F, K. 377. One side, and 
Mozart: Sonata No. 22 in A, K. 305 and Mozart: 
Sonata in E-flat, K. 58. Walter Barylli (violin) 
and Paul Badura'Skoda (piano). M2" disc 
(*WEST'WL'5145) $5.95. 

Mozart: Sonata No. 32 in B-flat, K. 454. One side, 
and Mozart: Sonata No. 41 in E-flat, K. 481. 

Reinhard Peters (violin) and Charles Rosen 
(piano). M2" disc (*L'LL'674) $5.95. 

Among the batch of chamber music recordings that 
has arrived recently we have grouped those listed 
above, for they all contain Selections for violin and 
piano. All of the Beethoven sonatas are already 
available in other recorded versions. The Schubert 
Rondo Brilliant in B minor, Op. 70 and the Mozart 



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The Nm R ecords 


sonatas are new items in the LP catalogs. We notice 
that the number of the Mozart Sonata in E'flat, K. 
481 on the London record (*L'LL'674) is given 
on the label as 33; according to our information 
this should be 41 and we so listed it in our heading. 
We mention this just in order to save any unneces' 
sary confusion. 

Perhaps when LP records are not as popular as 
they are at present, fewer will be issued each month 
and then we will have the space to consider each 
one individually as they are released; at present 
all that we can do is to list them so that our readers 
will know of their availability. 

The Mannheim School. New Art Wind Quintet: 
Murray Panitz (flute); Melvin Kaplan (oboe); 
Aldo Simonelli (clarinet); Tina de Dario (bas' 
soon); Robert Taylor (French horn). 2'12" discs 
in album (*CLASSICAL EDITIONS CD'2010) 

CONTENTS: Blaserquartet, Op. 8, 2s [o. 2 (Sta' 
mitz); Cassazione in E'flat (Mozart); Blaser quintet, 
Op. 88, No. 2 (Reicha); Blaser quintet, Op. 67, 
No. 1 (Danzi). 

Fran^aix: Quintette a Vent. One side, and Nielsen: 
Quintet, Op. 43. New Art Wind Quintet. LI 2" 
disc (^CLASSIC EDITIONS CE«2001) $5.95. 
The New Art Wind Quintet, formed for the 
purpose of furthering woodwind chamber music in 
America, is probably the most ideal instrument for 
its desire. The balance, precision and flexibility 
to perform, with equal success, both classical and 
modern works makes it virtually peerless. 

The Mannheim School, made up of composers 
who were attracted to the court of the Elector of 
Palatine in Mannheim, contains some of the most 
significant talent of the immediate Pre'Classical 
period (early eighteenth century). The inclusion 
of the Mozart work owes to the fact that the then 
young Composer was somewhat influenced by this 
School. Perhaps the chief value of the recording 
is that instead of presenting art of the established 
musical giants, whose individuality blots out, par* 
tially, the qualities and exact forms of their ages, 
it presents the works of talented but lesser known 
composers who mirror more accurately the life, 
spirit, and musical status of their time. 

The Nielsen'Fran^aix disc presents Nielsen at his 
finest and Fran^aix in an unusual mixture of im' 
pressionism and sophisticated jazz ranging in similar' 
ity from Gershwin to Stravinsky. C. 

Ravel: Quartet in F. One side, and Debussy: 
Quartet in G minor, Op. 10. Budapest String 
Quartet. M2" disc (*C'ML'4668) $5.45. 
Columbia has taken its recordings of the Ravel 
and Debussy quartets by the Budapest Quartet, each 
of which was originally spread over two sides of 
a single LP disc (*C'ML'4091 and *C'ML'4018), 
and coupled them on one LP record. The musical 
results are just as good at a saving of one'half the 

cost. We are very much in favor of this procedure 
and we are sure that our readers will also be quite 
happy about it. Perhaps the complaints that we 
have heard about spreading works over two sides 
that might have been placed on one have at last 
reached the ears of some of the record publishers. 


Gregorian Chants (Vol. 1). Trappist Monks of a 
Cistercian Abbey and Benedictine Nuns Choir. 
M2" disc (*PE'SPL'569) $5.95. 

Gregorian Chants (Vol. 2). Monks of the BenediC' 
tine Abbey (En Calcat) with Boys' Choir from 
l’Alumnat. M2" disc (*PE'SPL'570) $5.95. 

It would seem that the recordings to be found 
on these two unusual discs were made in the various 
monasteries and are reputed to have been made 
during the regular devotions of the religious who 
dwell there. As one listens to them, one has a 
feeling that he is being given a glimpse of a way 
of life in addition to hearing very beautiful and 
inspiring music. In fact, he is likely to have the 
feeling that he is taking part in a deeply religious 

To us these recordings were much more than 
just studio recordings of Gregorian Chants. It may 
have been our imagination, but they seemed to be 
surrounded with a mystical atmosphere of a highly 
religious nature. 

Rossini: II Barbiere de Siviglia (complete). (Sung 
in Italian). Mercedes Capsir (soprano); Dino 
Borgioli (tenor); Riccardo Stracciari (baritone); 
Supporting Cast, Chorus and Milan Symphony 
Orchestra conducted by Cav. Lorenzo Molajoli. 
3-1 2" discs in album (*C'EL'l) $10.10. 

Verdi: Rigoletto (complete). (Sung in Italian). 
Mercedes Capsir (soprano); Dino Borgioli (tenor); 
Riccardo Stracciari (baritone); Supporting Cast, 
Chorus and Orchestra of La Scala (Milan) con' 
ducted by Cav. Lorenzo Molajoli. 2' 12" discs in 
album (*C'EL'2) $7.25. 

The passage of years can do strange things to 
one's original impressions. On hearing these two 
reissues of, primarily, the art of Riccardo Stracciari, 
one time Metropolitan stalwart and later a principal 
with the Chicago Opera Company, this reviewer was 
amazed. Earlier (fifteen to twenty years) impressions 
were that here were superior performances of the 
roles of Rigoletto and Figaro, but viewed (as it were) 
in the cold light of 1953 one is confronted with the 
melancholy fact that they are no more than ordinary. 

To be sure, Stracciari was no longer young (he 
made his Metropolitan debut in the season 1906/07) 
when these records were made. Nonetheless one 

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0 indicates 45 rpm. 




The New Records 


would at least expect the art to hold up despite the 
passing years, but not so; the performances are in 
no way exceptional. Rigoletto is presented with little 
imagination and, on several occasions the gulping 
and sobbing are in very questionable taste — the 
jester was a wicked man, but certainly Verdi did not 
conceive him as a maudlin figure. Others in the cast 
of this recording — with the exception of Mercedes 
Capsir, whose sparkling vocalization is still exciting — 
are run of the mill. 

There is not much to commend Commendatore 
Stracciari's Figaro, either. Here again a lack of taste 
spoils what is essentially a real man — Rossini’s Figaro 
is not just another operatic buffoon as he becomes 
here. Again it is Capsir who saves the performance 
from being completely bad. 

These two reissues may be justified from an 
historical angle, although even that is doubtful in 
this writer’s mind. The quality of the recorded 
sound is poor (the original 78’s date from the late 
Twenties or early Thirties), and thus, despite the 
very low prices, the prospective purchaser is advised 
to hear the sets before laying out his money. A 
libretto is included but none of the historical data 
on the recording and the artists which would have 
been interesting, is furnished. W. 

"Of Gods and Demons.” George London (bass'bari' 

tone) with orchestral accompaniments. LI 2" disc 
(*C'ML'4658) $5.45. 

CONTENTS: Das Rheingold — Abendlich strahlt 
der Sonne Auge (Wagner); Die Wal\ure — Wotan’s 
Farewell & Magic Fire Music (Wagner); Damnation 
of Faust — Mephistopheles’ Serenade (Berlioz); 
Faust — The Calf of Gold (Gounod); M efistofele — 
Ecco il mondo (Boito); The Demon — Do not weep, 
my child (Rubinstein); Song of the Flea (Mous' 

There is a growing tendency on the part of record 
companies to give fancy names (in the same manner 
as a collection of essays) to the assembled items on 
an LP disc. Thus we have “New Year’s Day Con' 
certs;” “Ballet and Bizet” (a particularly inept 
effort, incidentally); and now a fanciful Of Gods 
and Demons. The “god” in this case is our old friend 
Wotan in a notable excerpt from Das Rheingold. 
This is followed by the more familiar finale to Die 
Wal\ure. Both are very impressively sung, for 
George London is the possessor of a rich basso' 
cantante that he uses with taste and intelligence. 

Less happy interpretively, although still very well 
sung, are the excerpts from La Damnation de Faust, 
Mefistofele and Faust. These three famous operatic 
devils require, for their proper and convincing pro' 
jection, in addition to a flexibility of temperament, 
a lightness of touch that London does not yet 
possess. In addition, he is tangling horns (literally 
and figuratively) with some of the greatest singers 
of all time who have preserved their versions of the 
music — Plan^on, Journet, and Chaliapin (among 

the older ones) and Panzera, Neri and Christoff in 
this present generation. One is glad to note the use 
of the chorus in the Berlioz and Gounod numbers. 

The recording of all but the Rubenstein excerpt 
is very good. This last, recorded in this country, 
seems small and far away by comparison with the 
rest. Columbia, as usual, has supplied the absolute 
minimum as regards notes and comment. W. 

Donizetti: Lucia di Lammermoor — Scena della 
pazzia (Act II). (Sung in Italian). One side, and 
Thomas: Hamlet — Scene de Folie (Act IV). 
(Sung in French). Mado Robin (soprano) with 
l’Orchestre de la Societe des Concerts du Con' 
servatoire de Paris conducted by Richard Blareau. 
MO" disc (*L'LS'676) $4.95. 

Mad scenes used to be a veritable passion with the 
older operatic composers — Donizetti and Bellini are 
two who come to mind — but there were others, 
notably Ambroise Thomas, who supplied at least one 
of the more famous Scenes de Folie. The reason for 
the numerous mad scenes is not hard to find — there 
were singers in the old days (i.e., early and middle 
19th century) who had magnificent voices and such 
scenes gave them an opportunity to vocalize all over 
the place, as it were, without anyone bothering too 
much — they were supposed to be crazy! 

Nowadays there are not so many gifted singers, 
and all mad scenes, with the exception of the classic 
in Lucia di Lammermoor are viewed very dimly. 
Mile. Mado Robin, the possessor of a remarkably 
pure and agile coloratura soprano, essays with con' 
sidcrable success two of these scenes, replete with all 
the vocal acrobatics, and battles the orchestra’s first 
flutist to a draw. 

Mado Robin is undoubtedly one of the better 
coloraturas singing today, and she works her way 
through both pieces in an manner that leaves no 
room for adverse criticism. Production, pitch and 
technique are good, accurate and musical. She is 
accompanied by the Paris Conservatory Orchestra 
under Richard Blareau, who obviously understands 
his role in the proceedings, and his work is sans peur 
et sans reproche. 

This is obviously a record for admirers of florid 
singing; it is supplied here, full meausre, pressed 
down and running over. Copious notes are supplied, 
as is good recording. W. 

Handel: Giulio Cesare (complete). (Sung in Itah 
ian). Soloists, Akademiechor and Pro Musica 
Chamber Orchestra (Vienna) conducted by Hans 
Swarowsky. 2' 12" discs in album (*VX'PL'8012) 

Information regarding the operas of Handel is 
rather sparse. They have been considered virtually 
unsingable, at least in their original keys, for some 
time, and this difficulty, colipled with their essentially 
static nature (opera seria ), have kept them from 
the modern stage. First produced in February of 
1724, Giulio Cesare was a resounding success and 



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0 indicates 45 rpm. 


T he NW; R ccords 


remained popular for over fifty years. A truncated 
modern version was given in New York (1944) with 
more than passing success, and the music was then 
described as “deeply moving and incessantly inter' 

It is a pity that Vox did not see fit to give some 
details on this recorded performance, such as who 
arranged the music, what transpositions were made 
and other facts that would aid the listener’s under' 
standing of, and consequently his pleasure in, the 
really wonderful score. 

Be that as it may, here is a first recording of an 
opera very few, if any of us ever expected to hear. 
In the title role (this one obviously transposed) 
is Otto Weiner. He sings well, with exceptionally 
clear diction and the dramatic recitatives are par' 
ticularly well delivered. As Cleopatra, Elisabeth 
Roon exhibits her clear light soprano to good advan' 
tage and the wonderful aria V'adoro, pupille comes 
off very well indeed. Phil Curzon is the Tolomeo 
and Herbert Handt the Sextus. Both prove more than 

Dr. Hans Swarowsky directs a performance that 
has purpose and style. His choice of tempi is un' 
usually just, and there is an air of conviction about 
the entire production. The recording is first'rate 
and the text is furnished, although there are certain 
deviations from it that are somewhat confusing. W. 

Operatic Choruses. Chorus of the Wurttemberg 
State Theatre and Wurttemberg State Orchestra 
conducted by Ferdinand Leitner. 140" disc (*D' 
DL'4056) $2.50. 

CONTENTS: Fidelio — Prisoners’ Chorus (Beet' 
hoven); Rienzi — Chorus of the Messengers of Peace 
(Wagner); Der Freischiitz — Chorus of Huntsmen; 
Chorus of Bridesmaids (Weber). 

The excellent chorus of the Wurttemberg State 
Theatre sings these choral operatic selections in a 
most acceptable manner. They have been well re' 
corded, and this disc is a fine value at its modest 

"Melba.” Patrice Munsel (soprano) with orchestra 
and chorus, taken from the sound track of the 
motion picture, “Melba.” 3'7" discs in box 
(0V'WDM'7O12) $3.99. 140" disc (*V'LM' 
7012) $4.67. 

CONTENTS: Romeo et Juliette — Je veux vivre 
dans ce Reve (Gounod); II Barbiere di Seviglia — Una 
voce poco fa (Rossini); Le "FJozze di Figaro — Voi 
che sapete (Mozart); Daughter of the Regiment — 
Chacun le sait (Donizetti); La Tosca — Vissi d’arte 
(Puccini); La Traviata — Libiamo, libiamo (Verdi); 
Ave Maria (Bach'Gounod); Home, Sweet Home 
(Payne'Bishop); A uf Flilgeln des Gesanges, Op. 34, 
No. 2 (Mendelssohn); Lucia di Lammermoor — II 
dolce suono mi colpo di sua voce (“Mad Scene”) 

Whether you have seen “Melba” on the screen 

or not, there is no reason why you should not enjoy 
Miss Munsel’s singing of the many famous selections 
to be found on the present LP disc. These recordings 
were taken from the sound track of the film. We 
do not claim that they are as good as if they were 
individual studio recordings, but we found them 
highly satisfactory and do not hesitate to recommend 

"The Triumphes of Oriana” (Collection of 32 
Madrigals dedicated to Queen Elizabeth I, edited 
by Thomas Morley). The Randolph Singers con' 
ducted by David Randolph. 242" discs in album 
(*WEST'WAL'212) $11.90. 

In this extraordinary album, The Triumphes of 
Oriana, Westminster has made available an admirable 
cross'section of the work of the leading Elizabethan 
composers. Represented are Thomas Morley, Weeb 
kes, Wilbye, Tomkins, Pilkington and Vautor as 
well as a host of lesser known writers such as Ellis 
Gibbons (the elder brother of the famous Orlando), 
Bateson, Greaves, Farmer, Hilton, Robert Jones and 
others. There are four famous composers of the 
time not represented — Byrd, Orlando Gibbons, Far' 
naby and Dowland. 

The Triumphes of Oriana was originally published 
in 1601 and was edited by Thomas Morley; the 
purpose was to honor Queen Elizabeth. The work 
consisted of twenty'five madrigals but this record' 
ing, comprising some 323 pages of music, includes 
in addition to the original twenty'five, seven other 
madrigals received too late for publication in the 
original volume. The enterprising conductor of the 
singing group, David Randolph, is responsible for 
the first complete collection of Oriana madrigals, for 
it was he who discovered the existence of the other 
works and tracked them down. 

With such an embarrassment of riches it is diffi' 
cult to give a clear picture of the delights of this set. 
There is Morley, the musical incarnation of the spirit 
of “Merrie England,” wholesome and breezy; and 
Thomas Weelkes, the closest of all the English 
madrigalists to the Italians, who is represented by 
the incomparable As Vesta was from Latmos Hill 
descending. And what of John Wilbye, perhaps the 
finest of all English madrigalists, whose dazzling brib 
liance and sheer perfection of workmanship are 
unique? Or Thomas Tomkins, the daring and power' 
ful harmonist? Lack of space unfortunately precludes 
further discussion, but be assured that the general 
level of inspiration is very high. 

The Randolph Singers are a group of six excellent 
voices that have been welded into an artistic entity 
at once musicianly and scholarly. Their work is 
characterized by a precision and tonal accuracy that 
does full justice to the work at hand. 

As is usual with this paragon of recording com' 

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^ indicates 45 rpm. 


PAGE 10 


T he Nw R ecords 

panies, there are notes on the collection, texts and 
informative notes on each madrigal, plus pictures of 
the performing artists. The album itself is an ex' 
tremely attractive one and, since the recording is of 
a superior order, the set can be recommended without 
reserve. W. 

Mozart: Motet, K. 165 (“Exsultate jubilate”). 
Elisabeth Schwarzkopf (soprano) with the Phil' 
harmonia Orchestra conducted by Walter Suss' 
kind, with George Thalben^Ball (organ). One 
side, and Mozart: II Re Pastore — L’Amero, saro 
costante. And Mozart: Die Entfiihrung aus dem 
Serail — Welcher Kummer (recit.); Traurigkeit 
ward mir zum Lose (aria). Elisabeth Schwarzkopf 
(soprano) with the Vienna Philharmonic Orches' 
tra conducted by Josef Krips. And Mozart: 
Warnung, K. 433. Elisabeth Schwarzkopf (so' 
prano) accompanied by Gerald Moore (piano). 
M2" disc (*C'ML'4649) $5.45. 

Last month a Mozart Recital by Hilde Gueden 
was issued by London and it contained several 
of the items recorded here. The wonderful motet 
Exsultate jubilate was the principal work there, 
as here, and while the recording on the present disc 
is more acceptable (there was blasting on the London 
record) the singing is not nearly as good. Elisabeth 
Schwarzkopf has a large voice, a dramatic soprano 
in fact and, because of this, she achieves a heaviness 
of sound that is unbecoming. The joyousness is far 
too restrained here, and there is a lack of spirit 
that may be due, in part, to the Schwarzkopf tem' 
perament; but some of it may also be accounted for 
by the nature of her voice, exceptionally fine as 
it is (for other music). 

The same strictures apply to the excerpts from 
II Re Pastore and Die Entfiihrung, both of which 
require a lighter touch and more flexibility to be 
really convincing. The song Warnung is, perhaps, 
the most successful, but it only lasts a little under 
three minutes. 

And speaking of time, recorded time that is, the 
London disc referred to above was a tendnch affair 
and contained as much, if not more, than this twelve 
inch Columbia! And if that were not all, one strongly 
suspects this Mozart Recital of being dubbed from 
78 rpm records, although no mention is made of 
such a procedure. There is some suspicious surface 
noise on occasion, but the overall quality of recorded 
sound is not too bad. 

The disc, however, must be listed among the 
poorer offerings of the year both artistically and 
monetarily. W. 

Schubert: Rosamunde, Op. 26 (complete). Hilde 
Roessel'Majdan (contralto), Vienna Akademiechor 
and Orchestra of the Vienna State Opera con' 
ducted by Dean Dixon. M2" disc (*WEST'WL' 
5182) $5.95. 

The music Franz Schubert wrote for Helmina von 
Chezy’s “drama,” Rosamunde, Princess of Cypress, 


consists of ten assorted entr’actes, melodies, choruses 
but no overture — and thereby hangs a tale. Accord' 
ing to an (unreliable) contemporary account, the 
overture used on the occasion of the first performance 
was that written for another unsuccessful play Ah 
fonso and Estrella. Dr. Alfred Einstein believes that 
the overture used was that for the opera Z auber< 
harfe — the one now popularly known as the Rosa' 
munde overture. In all events, Westminster and 
Dean Dixon use the Alfonso and Estrella piece thus 
spoiling the set for at least one listener, for this 
overture is a rather dull affair when compared with 
the utterly delightful Zauberharfe. 

Nevertheless, the balance of the music, most of 
which will be new to present day music lovers, is 
a delight from beginning to end. The lovely Romanze 
Der Vollmond strahlt is exquisitely sung by Hilde 
Roessel'Majdan, and the choruses are performed in 
sterling fashion by the indefatigable Akadamiechor. 

Dean Dixon, the gifted American Negro conduce 
tor, does a superior job with the lovely melodic music. 
His grasp of the style and his unerring beat are such 
as to make the disc a welcome addition to any 
collection. His tempi are sane, unhurried and essen' 
tially correct. The Vienna State Opera Orchestra 
plays in inspired fashion, and Westminster has come 
up with another fine engineering job. 

If it were not for the substitution of the Alfonso 
and Estrella overture for the Zauberharfe, the set 
would be, in this reviewer’s opinion, virtually perfect. 
The omitted overture is one of Schubert’s real gems. 


Recital of Bach and Handel Arias. Kathleen Ferrier 
(contralto) with the London Philharmonic Orches' 
tra conducted by Sir Adrian Boult. M2" disc 
(*L'LL'688) $5.95. 

CONTENTS: Mass in B minor — Qui sedes ad 
dextram patris, misere nobis; St. Matthew Passion — 
Grief for sin rends the guilty heart within; St. John 
Passion — All is fulfilled, and hope to fainting souls 
extended; Mass in B minor — Agnus, Dei, qui tollis 
peccata mundi, misere nobis (Bach). Samson — 
Return, O God of hosts; Messiah — O thou that 
tellest good tidings to Zion; Judas Maccabaeus — 
Father of Heaven; Messiah — He was despised and 
rejected of men (Handel). 

In a record of unusual interest, both musical and 
vocal, Kathleen Ferrier presents four arias of Bach's 
and an equal number by his great contemporary, 
Handel. Much, if not all, of this material has been 
recorded before, but never so sumptuously as here. 
In addition to the excellent soloist, the services of 
a first rank conductor (Sir Adrian Boult) and a 
fine orchestra (the London Philharmonic) are en' 
listed, making the offering deluxe indeed. 

Miss Ferrier, whose golden contralto has never 
sounded better, was obviously in fine voice for these 
recordings; the listening experience is a rewarding 
one. Beginning with the moving §ui sedes as dextram 



• indicates LP 88 rpm. 
0 Indicates 45 rpm. 

july T he New R ecords 1953 

patris from the "B minor Mass," the disc moves on 
to excerpts from the St. Matthew Passion and the 
St. John Passion and the first side closes with an 
excellently projected and memorable performance 
of the Agnus Dei from the "Mass in B minor." 

The second side of the disc is devoted to two 
Messiah excerpts handsomely sung and two lesser 
known, but none the less great arias from Samson 
and Judas Maccabaeus. In this more Italianate music 
Miss Ferrier is equally at home, handling the difficult 
coloratura passages with ease and style. 

Sir Adrian Boult and the London Philharmonic 
Orchestra cover themselves with glory and provide 
accompaniments that are the acme of good taste 
and musicianship. London’s engineers supply a first 
class recording job, and comprehensive notes are 
furnished on the jacket. W. 

Schlusnus Sings (Vol. 5). Heinrich Schlusnus (bari- 
tone) with piano accompaniments. LI 2" disc 
(*D'DL'9624) $5.85. 

CONTENTS: Venetianisches Gondellied, A uf 
Fliigeln des Gesanges (Mendelssohn); O \omm ’ im 
Traum (Liszt); Das Er\ennen, Der Kl6c\ (Loewe); 
Talismane, Die Beiden Grenadiere, Romanze (Schu' 
mann); Standchen, Der Blumenbrief, An die Musi\ 

Decca is continuing with its important project 
of making Schlusnus recordings available on LP. 
Those who have enjoyed the earlier releases in this 
series will doubtless welcome this new one. Heinrich 
Schlusnus’ art is something that deserves the widest 
possible exploitation. 

Chansons de Paris. Mira Jozelle with orchestra 
conducted by Ben Ludlow. 1-10" disc (*WEST' 
WL-3006) $3.95. 

CONTENTS: Je suis belle, cheri; Ciel de Paris; 
La fiancee du prestidigitateur; Hymne a I’amour; 
Sur la route; France dimanche; L’ Amour est parti; 
Le loup, la biche et le chevalier. 

Mademoiselle from Armentieres. Line Renaud with 
orchestral accompaniments. MO" disc (*VX'VL' 
3190) $4. 

CONTENTS: Mademoiselle from Armentieres; 
Tes yeux bleus; Son coeur est amour eux; Le soir; 
Tire, tire Vaiguille; Bouclette; Un oiseau chante; 

Paris je t’aime. Maurice Chevalier with orchestral 
accompaniments. MO" disc (*VX-VL-3180) $4. 
CONTENTS: Paris je t’aime; Trinque, trinque; 
Une canne et un casquette; Ah, si vous saviez; 
Moi . . . j’ai garde; La chasse; Le telegramme; Peut 

The three LP discs listed above should help to 
satisfy the constant demand for recordings of 
popular French songs — the sort of ditties that one 
hears in the night clubs of the French capital. 
As these three singers have had great success in this 
particular field, we are very sure that their record' 

ings will prove to be highly satisfactory — on this 
side of the Atlantic we would say that they are 
certainly in the groove ... We might mention that 
the Westminster disc (*WEST'WL'3006) has be- 
come a favorite of hi-fi fans because of its extremely 
wide range characteristics. 

Offenbach: Orphee aux Enfers (abridged). One 
side, and Offenbach: La Belle Helene (abridged). 
(Sung in French). Soloists, Paris Philharmonic 
Orchestra and Chorus conducted by Rene Lei' 
bowitz. 1 ' 1 2" disc (*REN-X'51) $5.95. 

Offenbach: La Vie Parisienne (abridged). (Sung 
in French). Soloists and Lamoureux Orchestra 
conducted by Jules Gressier. M2" disc (*VX' 
PL'21000) $5.95. 

Offenbach fans will surely be pleased with these 
excellent recordings of abridged versions of several 
of this famous comic opera composer’s best known 
works. All of the singers have been bred in the 
tradition of the Parisian musical theatre, and in these 
recordings they have had the benefit of able direc' 
tion and the support of fine orchestras. We have 
nothing but praise for the performances and the 

Romberg: The Desert Song (abridged). Nelson 
Eddy (baritone) with supporting cast, chorus and 
orchestra conducted by Lehman Engel. 1-12" disc 
(*C-ML'4636) $5.45. 

Fine, spirited singing of Romberg’s beautiful 
melodies, which seem as fresh as the day they were 
written twenty'seven years ago. We welcome Nelson 
Eddy’s return to records after too long an absence; 
Columbia’s engineers have accorded their best ef- 
forts to this disc, and we predict huge sales for it. 

Chopin: Andante Spianato and Grande Polonaise 
Brillante in E-flat, Op. 22. One side, and Chopin: 
Variations on "La ci darem la mano,” Op. 2. 

Pro Musica Orchestra (Stuttgart) conducted by 
Rolf Reinhardt (piano). And Chopin: Variations 
Brilliantes on "Je vends des scapulaires” of 
Herold, Op. 12. Rolf Reinhardt (piano). 1-12" 
disc (*VX'PL-7530) $5.95. 

We have listed this LP disc under PIANO because 
the piano is by far more important than the insignifi- 
cant orchestral accompaniments that Chopin has 
supplied for two of the three selections it contains. 
The Andante Spianato and Grand Polonaise Bril' 
lante is usually heard without the slight orchestral 
accompaniment that the composer wrote for the 
Polanaise section of this work. The “La ci darem 
la mano ” Variations, written when Chopin was but 
seventeen years of age, although it is the first work 
to bring attention to the young composer, is seldom 
heard these days. It was composed for piano and 

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PAGE 12 


The New R ecords 


orchestra, but here again the orchestral part adds 
little to the work as a whole. If it were not for the 
brilliance of the piano variations this early piece 
would have been forgotten long ago. As it is it is 
primarly of historic interest. The gay display piece 
based on a theme from “Ludovic” by the French 
operatic composer Louis'Joseph'Ferdinand Herold is 
another work which is of more interest historically 
than musically. 

To come to the point — the present disc will be 
of particular importance to those students of Chopin 
who would like to have Opus 22 played as it was 
originally written and would also like to have record' 
ings of two other works that are seldom heard and 
are not likely to be recorded again in the near future. 

We would say that Rolf Reinhardt has supplied 
satisfactory performances and that the reproduction 
is acceptable. 

Spanish Piano Music. Jesus Maria Sanroma (piano). 

M2" disc ( *PLM'PRLP' 1011) $5.95. 

CONTENTS: (4) Pieces Espagnoles (“Arago' 
nesa” “Cubana,” “Montanesa,” “Andaluza”) (Fab 
la); El Amor Brujo — Ritual Fire Dance (Falla); 
Ninerias (Suite for Piano) (Turnia). 

Spanish Piano Music. George Copeland (piano). 

M2" disc (*MGM'E'3025) $4.85. 

CONTENTS: Cantos de Espana — Cordoba (Ah 
beniz); Espana — Tango in D (Albeniz); Danza de 
la Hoguera (Pittaluga); Cadena de Vaises — Serenata, 
Homenaje a la Jota (Nin); Pochades Andalouses — 
Tientos (Infante); Cants Magics (Mompou); Im' 
presiones intimas — Planys (Mompou); Canqo I Dan' 
sa No. 1 (Mompou); Juergas — Murciana (Laparra); 
El Amor Brujo — Danse (Falla); Sacro'monte (Tur* 
ina); Danzas Espanolas — La Playera (Granados). 

Piano Music of Villa Lobos. Ellen Ballon (piano). 

MO" disc (*L'LS'531) $4.95. 

CONTENTS: A lenda do Cabocio; Vamos afraz 
da serra calunga; N’esta rua, nesta rua; O Poli' 
chinelo; Dansa do indio branco; Plantio do Cabocio; 
Festa no sertao. 

Hindemith: Sonata for Two Pianos, 1938. Josef 
and Grete Dichler (pianos). One side, and 
Martin — arr. Ansermet: Ballade for Flute. Kamil' 
lo Wanansell (flute) with Collegium Musicum 
Orchestra conducted by Kurt Rapf. MO" disc 
(*SOT'1037) $4. 

Of particular interest on this little LP disc is 
the recording of the Hindemith Sonata for Two 
Pianos, 1938. This recording was made by Cook 
Laboratories (Stamford, Conn.) in the studio of 
the Bosendorfer piano factory in Vienna. Two per' 
fectly matched thirteen'foot Bosendorfer concert 
grand pianos were used — pianos that are kept in 
the studio as reference instruments for comparison 
with new pianos as they are produced. The results 
obtained by the Cook technicians are outstanding. 
Here is a recording that high fidelity fans may use 
to show off the quality of their reproducing instru' 

Chopin: (12) Etudes. Wilhelm Backhaus (piano). 
MO" disc (*L'LS'704) $4.95. 

CONTENTS: Etudes No. 10 in A'flat, Op. 10, 
No. 1; No. 19 in C'sharp minor, Op. 25, No. 7; 
No. 18 in G'sharp minor, Op. 25, No. 6; No. 20 in 
D'flat, Op. 25, No. 8; No. 21 in G'flat, Op. 25, 
No. 9; No. 5 in G'flat, Op. 10, No. 5; No. 13 in 
A'flat, Op. 25, No. 1; No. 14 in F minor, Op. 25, 
No. 2; No. 15 in F, Op. 25, No. 3; No. 8 in F, 
Op. 10, No. 8; No. 2 in A minor. Op. 10, N°- 2.; 
No. 23 in A minor, Op. 25, No. 11. 

Chopin: (4) Ballades. Ginette Doyen (piano). 
M2" disc (*WEST'WL'5169) $5.95. 
CONTENTS: Ballades in G minor, Op. 23; A 
minor, Op. 38; A'flat, Op. 47; F minor, Op. 52. 

Chopin: (11) Mazurkas. Guiomar Novaes (piano). 
M2" disc (*VX'PL'7920) $5.95. 

CONTENTS: M azur\as in D, Op. 33, No. 2; 
C'sharp minor, Op. 41, No. 1; B minor, Op. 33, 
No. 4; A minor, Op. 17, No. 4; B'flat minor, Op. 24, 
No. 4; C, Op. 56, No. 2; A minor, Op. 59, No. 1; 
C, Op. 33, No. 3; B, Op. 63, No. 1; A'flat, Op. 59, 
No. 2; C, Op. 24, No. 2. 

These three LP discs contain a wealth of key' 
board music in the Spanish idiom, all played by able 
performers and well recorded. The surface of the 
M'G'M disc is not as quiet as we would like to have 
it. Better listen to this one before purchasing it. 

Mozart: Sonata in D, K. 381. One side, and 
Mozart: Sonata in B-flat, K. 358. Vitya Vronsky 
and Victor Babin (duo'pianists). M2" disc 
(*C'ML'4667) $5.45. 

Vronsky and Babin give delightful performances 
of these two sonatas for piano (four hands), which 
Mozart wrote in his teens for his sister, Nannerl, 
and himself. They are light and melodious and 
should have a wide appeal for those who appreciate 
the better things in the literature for piano duos. 

A Chopin Recital. Guiomar Novaes (piano). M2" 
disc (*VX'PL'7810) $5.95. 

CONTENTS: Scherzo No. 3 in C'sharp minor, 
Op 39; Berceuse, Op. 57; Waltz No. 6 in D'flat, 
Op. 64, No. 1 (“Minute”); Impromptu No. 2 in 
F'sharp, Op. 36; Etude No. 3 in E, Op. 10; Noc' 
turne No. 5 in F'sharp, Op. 15; Fantasie in F minor, 
Op. 49. 

Most music lovers are familiar with the recordings 
of the well established pianists Wilhelm Backhaus 
and Guiomar Novaes and will know what to expect 
when these distinguished artists turn their attention 
to Chopin. However, the French pianist, Ginette 
Doyen, while well known in Europe, the British Isles 
and Africa because of her several concert tours, is 

PAGE 13 


* indicates LP 8 Sy£ rpm. 
0 indicates 45 rpm. 



T he Records 

practically unknown on this side of the Atlantic. 
Miss Doyen is a graduate of the Conservatoire 
National de Paris and has appeared with the follow' 
ing famous French orchestras: Pasdeloup, Concerts 
Colonne, Lamoureux and National de Paris. She is 
steeped in the romantic French tradition, as the 
poetic style of her playing indicates. As we listened 
to her recordings we immediately thought of Cortot. 
Her playing is marked by extreme accuracy and 
delicate refinement. We found it utterly fascinating. 
Westminster has supplied the best of piano repro' 

Beethoven: Sonata No. 29 in B-flat, Op. 106 

(“Hammerklavier”). One and one'half sides, and 
Beethoven: Sonata No. 26 in E-flat, Op. 81a 
(“Les Adieux”). Solomon (piano). 4'7" discs in 
box (0V'WDM'1733) $5.14. M2" disc (*V' 
LM'1733) $5.72. 

Beethoven: Sonata No. 13 in E-flat, Op. 27, No. 1 
and Beethoven: Sonata No. 19 in G minor, Op. 
49, No. 1 . One side, and Beethoven: Sonata No. 
14 in C-sharp minor, Op. 27, No. 2 (“Moon' 
light”) and Beethoven: Sonata No. 20 in G, 
Op. 49, No. 2. Wilhelm Backhaus (piano). 
M2" disc (*L'LL'705) $5.95. 

Solomon offers thrilling performances of two of 
Beethoven’s most popular piano sonatas showing this 
pianist’s great virtuosity . . . Backhaus continues 
with his recordings of the Beethoven sonatas dis' 
playing that profound technique in the German tradi' 
tion that has made him a favorite of discerning 
music lovers on both sides of the Atlantic for over 
fifty years. 

Bartok: Sonata for Violin Solo. Wandy Tworak 
(violin). 1'10" disc (*L'LS'711) $4.95. 

Bartok: Sonata for Violin Solo. Robert Mann 
(violin). One side, and Bartok: Contrasts for 
Violin, Clarinet and Piano. Robert Mann (vio' 
lin), Stanley Drucker (clarinet), Leonid Hambro 
(piano). M2" disc (*BARTOK BRS'916) $5.95. 
Frequently considered the finest work in the form 
since Bach, the Bartok Sonata has received two satis' 
factory and one poor recording. The one we do not 
consider highly is performed by Robert Mann, first 
violinist of the Julliard Quartet. Mr. Mann em' 
phasizes only the stringent and dissonant elements 
of Bartok, failing to convey the Hungarian flavor 
which forms the basis of the composer’s art, and 
consequently misses the point of that art which rests 
with its synthesis of authentic folk music and classical 
forms. To glean an idea of the correct manner of 
performing Bartok, one need only listen to his own 
recordings, and compare them with duplicate record' 
ings of the same works; one discovers that the warmth 
Bartok conceives for his compositions has been 
replaced by a nervous abstract quality quite foreign 

to his apparent intention. Many performances, there' 
fore, that are paraded as definitive (in frequent in' 
stances executed by those who personally knew Bar' 
tok) are as removed from authenticity as are most 
attempts to reproduce Medieval music. 

When the Menuhin version of the Bartok Sonata 
was issued (TNR Apr. ’50) (*V'LM'1087), we 
stated that it was “probably ... as fine a rendition 
as (the Sonata) will ever get.” Those who may 
have this version in their libraries may be well 
satisfied that theirs is an outstanding interpretation — 
especially in view of the fact that the Sonata was 
dedicated to Menuhin. However, Wandy Tworak 
achieves a rare balance of thematic and formal 
elements, making his offering superior (in our 
judgment) and one of the few fully satisfactory 
recordings of the late composer’s work. C. 


Organ Music of Cesar Franck. Clarence Watters, 
playing the organ at Trinity College Chapel, 
Hartford (Conn.). 2' 12" discs in album (*CLAS' 
SIC CE'1007) $11.90. 

CONTENTS: Choral 7\ [o. 1 in E; Choral J^o. 2 
in B minor; Choral K[o. 3 in A minor; Priere. 

Organ Music of Cesar Franck (Vol. II). Clarence 
Watters, playing the organ at Trinity College 
Chapel, Hartford (Conn.). M2" disc in box 
(*CLASSIC CE'1015) $5.95. 

CONTENTS: Fantasie; Cantabile; Piece He' 
roique; A ndantino. 

In the April 1953 issue of TNR we reviewed a 
set titled “French Baroque Organ Music” played 
by Clarence Watters and recorded by Classic. This 
was about the best organ recording we had heard 
until Robert Noehren’s Audiophile discs came along. 
The present discs played by Watters duplicate some 
of the Noehren records, as far as the three great 
Franck Chorals are concerned. Watters, a recognized 
authority on French organ music, plays these works 
in a more conventional tempo than Noehren, general' 
ly on the faster side. His performances are master' 
ful and, if different, the equal of Noehren’s. But 
what comes from the records in the way of organ 
sound is something else. Trinity College Chapel and 
its large organ are not captured with the exceptional 
clarity that made Noehren’s records so outstanding. 
We would recommend the Noehren set over this on 
the basis of reproduction alone. 

Watters enjoys clearer reproduction in Vol. II; 
the full organ passages in the Piece Heroique are 
quite thrilling. Again Watters plays admirably and 
the organ has many registers of great beauty. All of 
the Watters discs have more atmosphere than the 
Noehren discs, placing the listener in the nave 
rather than close to the organ in the chancel. We 
would like to hear some more of the Watters records 
using the organ of St. John’s Church which were 


Indicate! LP 83 }/$ rpm. 


P/vse i4 


The N ew Records 


so successful in the Baroque music referred to at 
the beginning of this article. Classic Editions will 
eventually issue the complete organ works of Franck 
played by Watters, in what will be one of the 
greatest organ recording projects of our time, a 
survey of the French school of organ composition. 


Percussion and Pedal (Vol. III). Reginald Foort, 
playing the Wurlitzer organ of the Richmond 
(Va.) Mosque. MO" disc (*SOT-1052) $4. 
CONTENTS: The Cloc\ Factory, Nightmare in 
the Mosque, Dust Storm (Foort); La Gioconda — 
Dance of the Hours (finale) (Ponchielli); St. Louis 
Blues (Handy); Stars and Stripes Forever (Sousa). 

The Theatre Organ (Vol. IV). Reginald Foort, 
playing the Wurlitzer organ of the Richmond 
(Va.) Mosque. MO" disc (*SOT-1053) $4. 
CONTENTS: Scherzo in E minor (Mendelssohn); 
To the Spring (Grieg); Lohengrin — Prelude to Act 
III (Wagner); In a Monastery Garden (Ketelby); 
Light Cavalry Overture (Suppe); Wine, Women and 
Song (Strauss); II Trovatore — Anvil Chorus 

Hi-fi fans have been clamoring for more SOT 
records of the great Wurlitzer organ at the Mosque 
in Richmond, Va., played by “Michael Cheshire." 
We put “Michael Cheshire" in quotes because when 
the first recordings were made his true identity could 
not be divulged because of certain contractual com' 
mitments. Several of our readers wanted to know 
more about Michael Cheshire; they recognized a great 
virtuoso but could not understand how so brilliant 
an artist could escape widespread recognition. We 
can now tell them that “Michael Cheshire" is the 
distinguished English organist, Reginald Foort, who 
is known all over the world because of his many 
outstanding recordings. 

Of course, these two new Sounds of Our Times 
(SOT) records by Mr. Foort are designed primarily 
for Hi'fi fans. If your instrument can reproduce 
everything that is on these two discs, you have a 
truly “high fidelity" phonograph. 

Organ Encores. Richard Ellsasser (organ). 1-12" 
disc (*MGM-E-3031) $4.85. 

CONTENTS: Oh, Moon of My Delight; Le 
Coucou; The Lost Chord; Flight of the Bumble Bee; 
Hansel and Gretel — Children’s Prayer; Will o’ the 
Wisp; Londonderry Air; Concert Study in D minor; 
Humoresque: VOrgano Primitivo; Recreation on 
“Tur\ey in the Straw"; Chorale'Prelude on an 
English Lullabye. 

The distinguished young organist, Richard Ell' 
sasser, has turned his attention to a series of well- 
known and much beloved selections and has recorded 
them using a Hammond electric organ. The present 
disc is not of any great musical value, but it contains 
much delightful music if you care to relax and let 

the pleasing melodies come to you. Reproduction — 


D. Scarlatti: Sonatas for Harpsichord (Vol. IV). 
Fernando Valenti (harpsichord). 1-12" disc 
(*WEST-WL-5186) $5.95. 

CONTENTS: Sonatas in D, L. 463; E minor, 
L. 321; G, L. 209; G minor, L. 386; G, L. 388; A 
minor, L. 136; D, L. 418; G. L. 103; C, L. 205; 
F, L. 381; F minor, L. 475; E, L. 323. 

In his fourth volume Fernando Valenti presents 
another dozen of the brilliantly varied, and pyrotech- 
nically unique sonatas which form almost the total 
surviving works of Domenico Scarlatti. Valenti’s 
playing, like some incalculably varied line, follows 
the multi-hued life of these miniature dramas with 
a sensitivity and understanding that is almost end- 
lessly remarkable. 


Through Childhood to the Throne. A record of 
the eventful years preceding the coronation of 
Her Majesty, Elizabeth II. 4-7" discs in box 
(0V-WDM-177O) $5.14. 1-12" disc (*V-LM- 
1770) $5.72. 

This unique documentary recording covers the 
period of the life of Her Majesty, Queen Elizabeth 
II, from her birth on 21 April 1926 until her broad- 
cast to her peoples on Christmas Day, 1952. It was 
devised, written and produced by Brian George. 
The narrator is John Snagge. 

It includes recordings of broadcasts of many im- 
portant historic events in which are heard the voices 
of members of the royal family, leading English 
statesmen and many outstanding world figures. These 
recordings have been nicely tied together with ap- 
propriate remarks by the narrator. As recorded on 
the present LP disc it becomes a smoothly running 
story of the life and times of the present Queen 
of England. 

Eliot: Selected Poems. T. S. Eliot (reading). 1-12" 
disc (*HARVARD-L-6002/3) $6.50. 
CONTENTS: The Love Song of ]. Alfred Pru- 
froc\; Gerontion; The Hollow Men; Triumphal 
March; Journey of the Magi; A Song for Simeon; 
Difficulties of a Statesman; Fragment of an Agon. 

Owing to the relatively free syntactical structure 
of much of his poetry and to the fact that the 
structural arrangement of words and lines is signifi- 
cant both to the sound and metrical patterns and 
to the logic of it, the availability of Eliot’s recitation 
of some of his poems is indispensable to those who 
would most fully appreciate those works. Made over 
a period of twenty-one years, this collection reveals 
the poet’s voice in an unexpectedly interesting variety 
of conditions. 

PAGE 15 


Indicates LP rpm. 
0 Indicates 45 rpm. 


The New R ecords 


"The Lord is My Shepherd.” Eugene Kern (reader), 
with musical accompaniments. LI 2" disc (*NOT' 
ABLE 2323) $5,95. 

CONTENTS: Psalms 23, 39, 104, 15, 37, 49, 
137, 8, 139, 1. 

The Psalms listed above are beautifully and rever- 
ently read by the distinguished actor, writer and 
director, Eugene Kern. An unobtrusive musical 
background of organ music, selected from the works 
of Bach, adds very much to the effectiveness of this 
fine recording. The texts of the Psalms are taken 
from the King James Version of the Bible. 

Adlai Stevenson Speaks. Edited and Narrated by 
James Fleming. 4-7" discs in box (0V-WDM- 
1769) $5.14. M2" disc (*V-LM-1769) $5.72. 
This recording is intended for those who would 
like to have some highlights of the various speeches 
made by the former Democratic nominee for the 
presidency, Adlai Stevenson. Recorded excerpts from 
his major campaign speeches have been selected and 
nicely arranged with an appropriate narration by 
the distinguished NBC news commentator, James 


Marches. Deutschmeister Band conducted by Julius 
Hermann. 1-10" disc (*WEST-WL-3003 ) $3.95. 
CONTENTS: Radetz\y March (J. Strauss); Die 
Bosnia\en Kommen; Philippovits March ; Schoenfeld 
March; A uersperg March; 84th Regiment March; 
Vindobona March; Andreas Hofer March; Castaldo 

It has been a long time since we have had a new 
record by a military band and the present one comes 
all the way from Vienna. It contains a series of 
marches that were popular during the reign of the 
old monarchy before World War I. These are 
played with fine spirit by the famous Deutschmeister 
Kapelle, founded in 1741. 


Fiesta Flamenca. Carlos Montoya (guitar) with 
instrumental accompaniment. 1-10" disc (*SOT- 
1027) $4. 

This record is a hi-fi fan’s dream come true! 
Finger snapping, hand clapping, guitar strumming, 
dancing, castanet clicking, shouting — transient after 
fabulous transient snap through this half hour of 
rhythmic excitement. The music of this spontaneous 
Spanish “jam session’’ is filled with the most dawling 
array of hi-fi sounds probably ever put on a disc. 
It will make an ordinary phonograph sound remark- 
ably realistic, and on a truely fine instrument one 
has virtually to roll back the rugs to make room 
for the performers. Ole! 



The World's Encyclopaedia of Recorded 
Music . By Francis F. Clough and G. J. 
Cuming. 890 pp. Sidgwick and Jackson, 
Ltd. (London). Price $17.50. 

The T^ew Catalogue of Historical Records 
1898T908/09. Compiled by Robert Bauer. 
494 pp. Published in England. For sale in 
U. S. A. by H. Royer Smith Co. (Philadeh 
phia). Price $7.25. 

The Gramophone Shop Encyclopedia of Re' 
corded Music (Third Edition) . Robert H. 
Reid, Supervising Editor, 639 pp. Crown 
Publishers (New York). Price $2.95. 

The Victor Boo\ of Operas. Revised and edited 
by Louis Biancolli and Robert Bagar. 
xxiv-f-596 pp. Illustrated. Simon and 
Schuster (New York). Price $5. 

Victor Boo\ of Concertos. By Abraham Veinus. 
xxv + 450 pp. Simon and Schuster (New 
York). Price $3.95. 

Collectors’ Guide to American Recordings 
1895 '1925. By Julian Morton Moses. 
Foreword by Giuseppe De Luca. 200 pp. 
Published by the author. Price $3.75. 

I Hear You Calling Me. By Lily McCormack. 
201 pp. Illustrated. The Bruce Publishing 
Co. (Milwaukee). Price $2.75. 

Records: 1950 Edition. By David Hall, ix -f- 
524 + xx pps. Alfred A. Knopf (New 
York). Price $6. 

NOTE: All the above books have been reviewed 
in previous issues of The l^ew Records. If your local 
dealer does not stock them, orders addressed to H. 
Royer Smith Co., Philadelphia 7, Pa., will be promptly 
filled. The prices quoted include postage to any point 
within U.S.A. 

The first letters in the record number indicate the manufacturer: AL— Allegro. BG — Bach Guild, C — Columbia, CE— Cetra. CH— Concert 
Hall Society, CL — Capitol, CSM — Colosseum, CRS — Collector’s Record Shop, D — Decca, DL — Dial, ESO — Esoteric, FEST — Festival, 
FOLK— Ethnic Folkways Library, G I0A— Gregorian Institute of America, HS— Hadyn Society, L— London Gramophone, LYR— Lyri- 
chord, ME— Mercury, OC— Oceanic, OL— L’Oiseau Lyre, PE— Period, PH M— Philharmonia, PLM— Polymusic, REN— Renaissance, SOT— 
Sounds of Our Times, STR— Stradivari, UR— Urania, V— Victor, VAN— Vanguard, VX— Vox, and WEST— Westminster. 

• Indicates LP 8S% rpm. 
^ Indicates 45 rpm. 


PAGE 16 

The Nm R ecords 


Issued Monthly by 


"The World’s Record Shop" 


VOL 21, NO. 6 

AUGUST, 1953 

By null to any address 
|l par yaar 

*\ yf ORE and more persons are finding phono- 
-LVX graph records a great help in learning a 
foreign language. Recently there has come to 
our attention an unique record in this field. 
It is a 12 -inch LP disc entitled “Journey in 
French.” The playing time of this LP record 
is 47 minutes and this time is divided into 
nine dialogues between a Frenchman and his 
wife (Jacques and Frangoise) and an American 
and his wife (Dick and Nancy) who have come 
to Paris for a visit. Jacques and Frangoise take 
Dick and Nancy on a personally conducted 
tour of Paris — to the Notre Dame cathedral, 
the Sorbonne, to a restaurant, to a fashionable 
shop, etc. In the course of the tour they 
discuss in French literally everything under 
the Paris sun — food, wine, architecture, sports, 
art, fashion, tipping, cafe life, etc. Continually 
Jacques and Frangoise help their American 
friends with their French, pointing out their 
mistakes and suggesting the proper idiom. 
Thus the listener hears conversational French 
as it is spoken with humor and realism. By 
following the dialogues with the printed French 
text (with accompanying English translation), 
one will learn common, useful French phrases 
and their conversational contexts 

Those persons who have gained a fair 
knowledge of textbook French in high school 
or college can easily bring it alive by listening 
to the present record. They may take their 
stilted textbook French and convert it into the 
realistic conversation that one hears on the 
boulevards of the French capital. 

As we see it, this is the purpose of this 
unusual record. It will be of little value to 
anyone who has not had at least two years of 
French in school. It is in no sense a short 
course for learning French. The price of 
“Journey in French” is $4.95. If your local 
dealer cannot supply this disc, orders sent to 

the publishers of this bulletin will be promptly 

* * * 

STOP PRESS! Just as we were about to go 
to press, one of the most important recordings 
ever to be made arrived from England. It is 
the complete Coronation Service of Her 
Majesty Queen Elizabeth II, which took place 
in Westminster Abbey on 2 June 1953. The 
recording was made from the B.B.C. broadcast 
by direct wire to H.M.V.’s recording studio and 
begins with a spoken introduction by the Arch- 
bishop of Canterbury and ends with the sing- 
ing of National Anthem as the Queen leaves 
the cathedral. 

The recording has been most faithfully 
achieved; there is very little extraneous noise, 
and the music which is so much a part of the 
service has been caught with rare fidelity. It 
is a great joy to have this great service on 
three LP discs and not cut up into innumerable 
short sections as was the coronation of her 
father on 78 rpm discs. With this set of records 
there is supplied an excellent explanatory 
booklet prepared by the Rev. Edward C. 
Ratcliff, Ely Professor of Divinity in Cam- 
bridge University. 

As only a limited number of these sets are 
available, those interested should place their 
orders without delay. The price of this set of 
three 12-inch LP discs (manual sequence only) 
including the booklet is $21.90 (postpaid with- 
in U. S. A.) 


We are continually receiving requests for 
back copies of The New Records. Most of 
the issues published during the last twenty 
years are available. The price is 10c each. A 
file of all of the available issues (at least 140 
copies) is $5. These prices are postpaid within 
U. S. A. 

NOTE: Those persons interested in recent 

August T he Records < 953 

recordings only may secure all of the issues of 
the last three years beginning August 1950 (36 
copies) at the special price of $2 (postpaid 
within U. S. A.). 


Puccini: La Tosca (highlights). Simona DairArgine 
(soprano); Nino Scattolini (tenor); Scipio Column 
bo (baritone); Vienna Kammerchor and Orches- 
tra of the Vienna State Opera — Quadri. 1-1 2" 
disc (*WEST-WL-5208) $5.9?. (TNRMar. '52). 

Bantock: Fifine at the Fair. Royal Philharmonic 
Orchestra — Beecham. 1-1 2" disc (*V-LHMV- 
1026) $5.95. (TNR Oct. ’51). 

Wagner: Die Gotterdammerung — Siegfried's Rhine 
Journey; Siegfried's Funeral March. And Wagner: 
Tristan und Isolde — Prelude to Act III. And 
Wagner: Siegfried Idyll. And Wagner: Tann - 
hduser — Introduction to Act III. L'Orchestre de 
la Societe des Concerts du Conservatoire de 
Paris — Weingartner. M2" disc (*C-ML-4680) 
$5.45. (TNR July '42, Feb. '40, Aug. '39, & Mar. 

Bloch: Concerto for Violin and Orchestra. Joseph 
Szigeti (violin) with L'Orchestre de la Societe des 
Concerts du Conservatoire de Paris — Miinch. One 
side, and Bloch: Baal Shem. Joseph Szigeti (violin) 
and Andor Farkas (piano). M 2" disc (*C-ML- 
4679) $5.45. (TNR Oct. '39 & Mar. '41). 

Handel: Concerto Grosso No. 5 in D, Op. 6, No. 5. 
London Philharmonic Orchestra — Weingartner. 
One side, and Handel: Concerto Grosso J<io. 6 in 
G minor, Op. 6, No. 6. London Symphony Orches- 
tra — Weingartner. 1-12" disc (*C-ML-4676) 
$5.45. (TNR Oct. '39 & Jan. '40). 

Mozart: Symphony No. 39 in E'flat, K. 543. One 
side, and Mozart: Symphony 7<fo. 40 in G minor, 
K. 550. London Philharmonic Orchestra — 
Beecham. 1-12" disc (*C-ML-4674) $5.45. (TNR 
July '41 & Mar. '38). 


Berlioz: Roman Carnival Overture. One side, and 
Suppe: Light Cavalry — Overture. Philadelphia 
“Pops" conducted by Alexander Hilsberg. 1-10" 
disc (*C-AAL-34) $2.85. 

Wagner: Tannhauser — Overture. Wiirttemberg 
State Orchestra (Stuttgart) conducted by Ferdi- 
nand Leitner. One side, and Wagner: A Faust 
Overture. Munich Philharmonic Orchestra con- 
ducted by Fritz Rieger. 1-10" disc (*D-DL-4061) 

Strauss: Kaiserwalzer in C, Op. 437 (“Emperor 
Waltz"). Bamberg Symphony Orchestra conducted 
by Ferdinand Leitner. One side, and Strauss: 
Morgenblatter (“Morning Papers Waltz"). RIAS 
Symphony Orchestra (Berlin) conducted by Ferenc 
1-10" disc (*D-DL-4062) $2.50. 

Rossini: Tancredi — Overture. RIAS Symphony Or- 
chestra (Berlin) conducted by Ferenc Fricsay. 
And Glinka: Russian and Ludmilla — Overture. 
Bamberg Symphony Orchestra conducted by Fritz 
Lehmann. One side, and Verdi: Nabucco— Over- 
ture. RIAS Symphony Orchestra (Berlin) con- 
ducted by Ferenc Fricsay. And R. Strauss: 
Ariadne auf Naxos — Overture. Wiirttemberg 
State Orchestra (Stuttgart) conducted by Ferdi- 
nand Leitner. 1-10" disc (*D-DL-4063) $2.50. 

Mozart: March and Fandango. Bavarian Radio 
Orchestra conducted by Eugen Jochum. And 
Dohnanyi: Der Schleier der Pierrette — Wedding 
Waltz. Bavarian Symphony Orchestra conducted 
by Kurt Graunke. One side, and Waldteufel: 
Espana Waltz. And Hellmesberger : Dance of 
the Devils. Munich Philharmonic Orchestra con- 
ducted by Edmund Nick. 1-10" disc (*D-DL- 
4064) $2.50. 


Beethoven — orch. Weingartner: Sonata No. 29 in 
B-flat, Op. 106 (“Hammerklavier"). Royal Phil- 
harmonic Orchestra conducted by Felix Weingart- 
ner. 1-12" disc (*C-ML-4675) $5.45. 

Beethoven — orch. Weingartner: Sonata No. 29 in 
B-flat, Op. 106 (“Hammerklavier"). Bavarian 
Symphony Orchestra conducted by Kurt Graunke. 
1-12" disc ( *UR-URLP-7089) $5.95. 

Beethoven’s great Opus 106 Sonata, the Hammer' 
\lavier, has always posed a series of almost insur- 
mountable problems for the pianist. The difficulties 
were realized by the composer himself for, contrary 
to his usual insistence on strict adherence to his 
instructions, Beethoven wrote a friend, regarding 
this sonata, that “here was a piece that would give 
the pianist something to do" and goes on to say 
that the performer could change the order of the 
movements in order to make the work more under- 

It was because of these many problems that Felix 
Weingartner decided to orchestrate the sonata. Now 
it must be understood that his work was no mere 
exercise in orchestration — on the contrary it is the 
serious work of an understanding and intelligent 
musician. The resultant composition is an orches- 
tral masterpiece, a “Tenth" symphony if you will. 
Weitgartner has, to all intents and purposes, put 
the Opus 106 into playable form as a hearing of 
any of the recorded piano versions will demonstrate 
conclusively. This, one realizes, is a controversial 
remark, and should not be construed as a blanket 
approval of orchestration of Beethoven's or any 
other composer's piano music. Rather, it is the 
exception that proves the rule. 

The two recordings of this monumental work now 
available on LP offer interesting contrasts. Columbia 
has re-issued Weingartner's original recording. Tech- 
nically a fine one in its day, it now shows its age 

* indicates LP SSVS *THn. 
4 indicates 45 rpm. 




The N ew Records 


in this year of grace, 1953. Urania’s, however, is a 
top'notch up'to'date job. A comparison of the two 
versions, by movements, is also extremely edifying. 
Weingartner’s reading of the first movement has 
fire, is fast in tempo while Graunke’s is more delib' 
erate and creates a sense of power, of massiveness 
that is very persuasive. The ironical scherzo is treated 
in about the same fashion by both conductors with 
Graunke being a little more bitter, Weingartner more 
brittle. Not much to choose here. The crowning 
glory of the sonata, the magnificent adagio sostenuto, 
is played by both men in virtually the same manner; 
it is inspired and moving music in both instances. 
After this, the final largo — allegro risoluto always 
seemed anti'dimactic but Graunke, because of the 
clarity achieved by Urania's engineers, makes the 
fugue hang together better than Weingartner’s does. 

Regretfully, then, for this reviewer has always 
admired the old Columbia version, the palm must 
be handed to the Urania recording on the basis of 
sheer sound. That Graunke’s performance is as 
good as Weingartner’s is one of those fortuitous 
circumstances for which one can only be very 
thankful. W. 

Vaughan Williams: A Pastoral Symphony. London 

Philharmonic Orchestra conducted by Sir Adrian 

Boult. M2" disc (*L'LL'721) $5.95. 

Britten: Variations on a Theme by Frank Bridge, 

Op. 10. One side, and Warlock: Capriol Suite. 

Boyd Neel String Orchestra conducted by Boyd 

Neel. M2" disc (*L'LL'801) $5.95. 

All of this music appears for the first time on 
LP discs; the symphony, for the first time at any 
speed. Both discs are part of London’s “Special 
Commemorative Coronation Release.’’ The sym' 
phony is Williams’ third, first performed in 1922. 
It is the least played of his symphonies because it 
is a quiet work all the way through. This contemn 
plative music is not pictorial, but rather it is absolute 
music that progresses from logical thinking and not 
by impressionism. It is one of the composer’s most 
powerful and personal utterances, a strong work 
which just happens not to have many fortissimo 
climaxes. The modal, peaceful mood of the music 
produces a vision of landscape as seen from afar, 
rather than any sharply drawn picture. There is some 
activity in the third movement and some sonorous 
passages, although the rhythm does not become 
too agitated. The finale opens with a long beatless 
and wordless recitative for a solo soprano over a soft 
drum'roll, and the work closes with a shortened 
version of the soprano solo, this time accompanied 
only by a single octave A high on muted violins. 

Sir Adrian Boult, who gave us a fine recording 
of Williams' London Symphony, leads his admirable 
London Philharmonic Orchestra, of which he is 
permanent conductor, in a beautiful reading of this 
rather mystical music. Knowing Boult’s music mak' 
ing, we would say he adheres faithfully to the score, 

and one can be quite certain that this performance 
is an accurate statement of the music. The reproduce 
tion is very fine. Those who have appreciated Vaugh' 
an Williams’ other works will find this one well 
worth investigating. 

The Britten and Warlock works are of a different 
nature entirely. They are light essays, cleverly writ' 
ten, and entertaining in a sophisticated, classical 
manner. Each is a skillful work that sustains inter' 
est. Britten's variations are a virtuoso demonstration 
in this form for a composer of twenty^three. Boyd 
Neel and his fine string orchestra perform these 
scores with a firm conviction and the results are up 
to his usual high standard; London’s quality of 
string tone is pleasing. S. 

Shostakovich: Symphony No. 1 in F, Op. 10. 

State Orchestra of the USSR conducted by Kiril 

Kondrashin. M2" disc (*VANWRS'6014) $5.95. 

While not wishing to drool unnecessarily over 
things Soviet, facts are facts, and in a traditionally 
democratic manner, we must admit that this record' 
ing is really something exceptional, Soviet or not. 
It is not only one of the most vital performances 
of this great score we ever heard, but it is also 
magnificently played by the orchestra and recorded 
with a fidelity the equal of anything we have heard. 
We must give this disc our highest recommendation 
in every sense of the word. 

Shostakovich's First Symphony may have been 
controversial at one time, but it is no longer a 
shocker — it is just a brilliant and exhilarating sym' 
phony which with the passing years becomes increas' 
ingly more important. Composed in 1925 when 
Shostakovich was nineteen, this work was his first 
major score. It will undoubtedly take its place in 
the repertoire of symphonic works with the greatest 
creations in that form. Shostakovich’s Fifth is pretty 
much in the same class. We believe that the major' 
ity of today's music lovers can enjoy this work, and 
if you have not become familiar with it, this disc 
will be played as often as any, once it becomes part 
of your library. 

Only two other recordings exist of this work, one 
by Stokowski, who gave the work its American 
premiere, and one by Rodzinski. The Rodzinski 
performance is the only other LP version. While 
it is an admirable reading and a good reproduction, 
it is not the equal of this new one. There is greater 
intensity and less rushing forward in the Kondrashin 
reading; it is a bit more expansive, but it never gets 
thick or draggy. The quality of reproduction from 
U.S.S.R. has rapidly and steadily improved, as noted 
in these columns during the past year, and with 
this disc, taped in Russia and processed over here, 
they have equalled today’s standard anywhere. With 
the improved reproduction, we can hear the excel' 
lence of the State Orchestra, and it is a first class 
group with marvelous precision. More Shostakovich 
symphonies recorded in this manner would be 
valuable additions to the LP catalogs. S. 



Indicate* LP 88^ rpn. 
0 Indicates 45 tpm. 



The N ew Records 

Beethoven: Symphony No. 4 in B-flat, Op. 60. 

Halle Orchestra conducted by Sir Hamilton Harty. 
M2" disc (*G'RL'3034) $2.98. 

Beethoven: Symphony No. 7 in A, Op. 92. Phil' 
harmonia Orchestra conducted by Alceo Galliera. 
M2" disc (*C'RL'3035) $2.98. 

Beethoven: Symphony No. 5 in C minor, Op. 47. 
One side, and Mozart: Symphony No. 39 in 
E-flat, K. 543. Vienna Philharmonic Orchestra 
conducted by Herbert von Karajan. M2" disc 
(*C'RL'3068) $2.98. 

Columbia's offerings on the low'priced “Entre” 
series are of more than passing interest in the case 
of these three. We will dispose of the Beethoven 
Fourth first because it will be of interest primarily 
to those admirers of the late Hamilton Harty, of 
Handel’s 'Water Music fame and a generally ad' 
mirable conductor of his day. However, this set is 
at least twenty years old, and Columbia has an even 
better bargain package in their regular full'priced 
line: Walter and the New York Philharmonic doing 
the Beethoven Fourth and Second, both on one 12" 
LP, which obviously beats the value of this “Entre’’ 
disc, to say nothing of better reproduction. The 
amazing thing about this Hamilton Harty disc is 
how well it does sound for its age. The over'all 
effect is more pleasing than some of the super' 
strident, shrill jobs of today; but it is not in a class 
with even the average of today's recordings. As a 
performance it is good, although not good enough 
to take precedence over a newer one. 

The balance of the offerings, Beethoven’s Fifth 
and Seventh and the Mozart Symphony 7^o. 39, are 
all superlative jobs. Galliera has a fine snap and 
precision in his Seventh, with a wonderful pace 
and drive, and all of it under firm control. We were 
quite impressed with this reading, not expecting any' 
thing as fine as this. The Philharmonia plays with 
beautiful finish, and Galliera’s reading is straight' 
forward, with a perfect balance between tautness 
and relaxation. 

Von Karajan is enjoying one of his better moments 
in both of the works he directs here. This is a fine 
Beethoven Fifth, with great intensity and solid 
orchestral playing. It has many magnificent moments 
and is not marred by interpretive excesses. The 
Mozart is a shade heavy, but this particular one 
can stand it, and the result is most satisfying. All of 
these are recent recordings, within the past two or 
three years, and are examples of good reproduction. 


R. Strauss: Aus Italien, Op. 16. Symphony Orches' 
tra of Radio Berlin conducted by Arthur Rother. 
M2" disc (*UR'URLP'7087) $5.95. 

Aus Italien is a symphonic fantasia, the first of 
Strauss' orchestral tone poems. It is in four move' 
ments, with the second and fourth constructed along 

sonata lines, and has been called a symphony by 
some. It is the first work in which Strauss, brought 
up on classical methods, broke away and began to 
think for himself, a result which has been felt in 
orchestral composition ever since. 

At the age of twenty'two Strauss visited Italy, 
spending much time in Naples and Rome, enjoying 
the scenic beauty, historical landmarks, and the 
bright, gay life of that land. As with other com' 
posers, Strauss was inspired by his visit, and the 
inspiration was poured into a major orchestral canvas. 
The last movement of this work is based on the 
familiar song Funiculi, funicula, which is given a 
treatment of great abandon and rather daring flights 
of imagination. The public was mindful of this new 
musical form and the large orchestra (and extravagant 
scoring) employed by Strauss, and their greeting was 
a mixed one. Any opposition did not, fortunately, 
discourage Strauss — his mind was made up, and he 
was happy to have discovered a new direction in 
music. Macbeth, Don Juan, and Tod und Ver\larung 
which followed proved him right. Two weeks after 
the first performance in Munich, Strauss wrote to 
Hans von Biilow, asking him to accept the dedica' 
tion of his Italian Fantasia as a “little token of my 
great gratitude.’’ Von Biilow, who usually declined 
such honors, accepted with unequalled enthusiasm 
the dedication of “this Symphonic Fantasia deco' 
rated by local opposition.’’ 

The four movements are entitled: On the Cam' 
pagna, Amid Rome’s Ruins, On the Shore of Sor' 
rento, and Neapolitan Folk Life. There is much 
to admire in the music; many who find the later 
tone poems too ornate would enjoy this work, 
which deserves more of a hearing than it gets. 
Rother and his orchestra offer a fine performance of 
the work which is excellently recorded. S. 

Mahler: Symphony No. 7 (“Song of the Night’’). 
Orchestra of the Vienna State Opera conducted 
by Hermann Scherchen. 2' 12" discs in album 
(*WEST'WAL'211) $11.90. 

Mahler: Symphony No. 7 (“Song of the Night’’). 
Symphony Orchestra of Radio Berlin conducted 
by Hans Rosbaud. 2' 12" discs in album (*UR' 
URLP'405) $9.70. 

There is little comparison between these two 
recordings. Scherchen so clearly outperforms Ros' 
baud that he runs away with the honors in every 
respect. Westminster’s victory is even more com' 
plete for they have better orchestral playing and 
far better reproduction. Whether you listen to the 
first two minutes or whether you play them both 
all the way through, the results are the same. In 
fact, Rosbaud’s version is rather boring, for he 
plods along with dull recording pulling him down 
even more. Scherchen’s treatment keeps things mov' 
ing along in an interesting fashion, and he has a 
knack of making this sprawling score hang together. 
The Seventh is a long work which finds Mahler 


• indicates LP 88 ^ rpm. 
0 indicates 45 rpm. 


The N ew R ecords 


in a mood which has led this symphony to be called 
his “romantic," such as Bruckner's Fourth. This 
work takes leave from the purely subjective, auto' 
biographical style of the earlier works. It is still a 
descriptive piece of writing, and is a bizarre and 
satirical work which alternates capriciously in mood. 
The five movements present an intriguing structure. 
The outer movements frame the three middle move' 
ments. But the three middle movements have a 
peculiar form in themselves. The second and fourth 
movements are called ?S [achtmusi\, and they surround 
the third movement Scherzo. These three middle 
movements alternate between the lyric and the 
grotesque, with unexpected outbursts following the 
sweetest passages. Among the baffling aspects of this 
work is the key signature. It is sometimes called 
the Symphony in E minor and sometimes the Sym' 
phony in B minor; but the name “Song of the 
Night" is a charming title which fits it well con' 
sidering the two movements called 7S [achtmusi\. The 
use of guitar and mandolin in the fourth movement 
gives that Night Music a wonderful effect, original 
with Mahler. There is much in the Seventh that is 
fascinating, and we can recommend Scherchen’s 
recording as something to interest the more curious 
and enterprising music lover as well as the devoted 
Mahlerites. g 


Tchaikovsky: Concerto No. 2 in G, Op. 44. Margot 
Pinter (piano) with the Symphony Orchestra of 
Radio Berlin conducted by Arthur Rother. IT 2" 
disc ( *UR'URLP'708 1 ) $5.95. 

Khachaturian: Concerto for Piano and Orchestra. 

Margot Pinter (piano) with the Symphony Or' 
chestra of Radio Berlin conducted by Arthur 
Rother. 1T2" disc (*UR'URLP'7086) $5.95. 
Margot Pinter is a pianist new to us. She is a 
good artist, sincere and rather free of interpretive 
mannerisms. If there were no other recorded versions 
of these works with which to compare the present 
discs, we would probably give both these works a 
high rating. Such is not the case, for in the Tchai' 
kovsky, there exists a recent recording by Mewtom 
Wood with the Winterthur Orchestra under Walter 
Goehr (*CH'CHST 125), which is mighty stiff 
competition. It has a lot more drive and virtuoso 
flourish than the Pinter recording, qualities which 
this work can well accommodate. The music may 
not have the immediate popular appeal of the well 
worn First Concerto, but it is a pity that it does not 
get at least a tenth of the concert performances of 
the First, for the Second has many lovely melodies 
and much fine workmanship (for that matter, so does 
Tchaikovsky's Third Concerto, another brilliant and 
interesting work well done by Mewton'Wood on 
LP). We would prefer the MewtomWood as a 
performance, both soloist and accompaniment, and 

as a more forward reproduction. 

The Khachaturian Piano Concerto is enjoying a 
substantial popularity which seems to be growing 
with the years. The LP recordings now number five. 
The best of them is still, to our ears, Levant and 
Mitropoulos (*C'ML'4288) which we reviewed in 
March, 1950. From the very opening measures there 
is a conviction that is contagious, and a rapport 
between soloist and conductor which is perfect. 
Levant begins the work more pompously than Pinter; 
it is marked Allegro Maestoso, and that is how he 
plays it. In the first and third movements, Levant 
has a definition and clarity that exceed all other 
recorded performances. Columbia's reproduction is 
notably better than the present Urania, in every 
respect; better percussion, better piano tone — closer 
and brighter, and better balance. The Pinter reading 
is a good and a valid one, but it is just not in the 
same league as Levant and is barely equal to Kapell 
or Lympany. For this work we still recommend Le' 
vant's disc above all others. S. 

Vivaldi: Concerto in E minor for Violoncello and 
Strings. And Couperin — arr. Bazelaire: Pieces 
en Concert for Violoncello and Strings. One 
side, and Boccherini: Concerto in B-flat for 
Violoncello and Orchestra. Pierre Fournier (vio' 
loncello) with the Stuttgart Chamber Orchestra 
conducted by Karl Munchinger. IT 2" disc (*L' 
LL'687) $5.95. 

’Cello Recital. Pierre Fournier (violoncello) accom' 
panied by Ernest Lush (piano). IT 2" disc (*L' 
LL'700) $5.95. 

CONTENTS: Chorale (“Herzlich tut mich Ver' 
langen") (Bach); Sonata in G (Bach); Wigun (from 
“Baal Shem") (Bloch); Chanson Louis XIII and 
Pavane (Kreisler); Beau Soir (Debussy'Heifetz); 
Fileuse, Op. 80, Ho. 2 (Faure); Prelude Ho. 2 
(Gershwin); Granadina (Nin). 

Unlike most 'cellists whose bowing sounds like 
a runner's breathing after the 100 yard dash, Pierre 
Fournier possess an unusual and almost uniquely 
mellifluous tone which, combined with his supremely 
cultivated musicianship indicates immediately, that 
he is one of the very few good 'cellists one may hear 
today. His is the quiet drama, the variety which is 
calculated to last and not to expire after a few 
sensational exhibitions. He does not strive, partial' 
larly, for authenticity (as in the cases of the Vivaldi, 
Boccherini and Haydn concerti), but rather strives 
to express what he performs in terms of his own 
technique; and to be convincing at that sort of 
approach, a basically interpretive one, requires a 
highly controlled talent. 

The majority of his “ 'Cello Recital" consists 
of works not intended for that instrument, but in 
no instance, if one did not know the origins of the 
works, would there probably be any doubt that they 
were all 'cello masterpieces. His version of the 
Bach Sonata, when compared with Casal's, leaves 



Indicate! LP rpm 
0 indicate* 45 rpm 


The Nm R ecords 


the impression that where Casals is playing the 
'cello, Fournier is playing the Sonata. The same 
impression is acquired from other comparisons we 
have made, which is not so much a depreciation of 
other 'cellists, as an indictment of the rarity of 
the kind of playing which Fournier exhibits on his 
first major LP releases. C. 

Beethoven: Concerto No. 1 in C, Op. 15. Paul 
Badura'Skoda (piano) with the Vienna State 
Opera Orchestra conducted by Hermann Scher' 
chen. M2" disc (*WEST'WL'5209) $5.95. 

The second in order of composition (of the great 
five), but the first to be published, this concerto is 
considered to be closer in style to Mozart than any' 
thing else Beethoven ever wrote. It could not be 
called imitation, but the style and feeling are often 
present. It is an extension of Mozart’s writing and 
is clearly Beethoven. The problem of interpretation 
in the First Concerto is usually mindful of this 
Mozartian style. The idea is carried out well by 
Gieseking (*C'ML'4307), a recording which has 
been admired and preferred in these columns. The 
present disc by Badura'Skoda leans much more to 
the style of Beethoven playing which we would find 
in the later concertos. Scherchen sees it this way 
too. There is a maximum of weight from both 
soloist and orchestra throughout the performance, 
but we would not call it heavy'handed nor inappro' 
priate. Badura'Skoda does better by this concerto 
than either of the other two he has committed to discs 
(Fourth and Fifth), although his Fourth was quite 
good. He is perfectly agile, with a rippling technique 
and the requisite power where necessary. Scherchen 
provides a fine accompaniment and elicits some 
nicely turned phrases from the orchestra. The per' 
formance is well integrated, and each movement is 
carefully wrought. We would recommend it as the 
best of all the LP’s available. S. 

Khachaturian: Concerto for Violoncello and Or- 
chestra (1946). Sviatoslav Knushevitsky (violon' 
cello) with the USSR State Orchestra conducted 
by Alexander Gauk. M2" disc (*VAN'VRS' 
6009) $5.95. 

While most of us have greatly enjoyed Khacha' 
turian’s Gayne, Masquerade, and Piano Concerto, 
many have labeled these works with banality. The 
Violin Concerto is considered by some a little long 
and mushy in substance. We now have a concerto 
for another instrument, and in this ‘cello concerto 
Khachaturian has produced a work of definite appeal, 
as well as another work of magnificent Armenian 
color. The characteristics of Armenian folk music 
are tightly woven throughout the entire work. Built 
on solid classical forms, this work presumably does 
not use actual folk melodies; but all the themes have 
the style and feeling of typical Armenian melody. 
This national spirit is an inseparable part of Khacha' 

turian’s art and lends a fresh and original quality 
to his work; it makes his music distinctive. As in 
his other works mentioned above, there seems to be 
no political connections; it is just honestly built on 
the musical heritage of his native land. 

The cover notes for this disc give an understand' 
ably detailed description of the three movements, and 
they point up the use of Armenian melody and the 
folk and dancedike tunes which Khachaturian em' 
ploys. The writing for the solo instrument is bril' 
liant, full of technical difficulties for virtuoso dis' 
play, and always interesting to hear. The orchestral 
part is important and beautifully scored. We would 
say this is a fine work for ’cello and a worthy addition 
to the concerto repertoire for that instrument. You 
will find it an absorbing work well worth hearing, 
especially if you have enjoyed other works by this 
composer. It is splendidly performed by the artist 
to whom the work is dedicated. The accompanying 
orchestra is fine and the reproduction brilliant. This 
work, by the way, is but 34 minutes long, and each 
side of this 12" LP has just 17 minutes of music 
on it. S. 

MacDowell: Concerto No. 1 in A minor, Op. 15. 

One side, and MacDowell: Concerto No. 2 in D 

minor, Op. 23. Vivian Rivkin (piano) with the 

Orchestra of the Vienna State Opera conducted 

by Dean Dixon. M2" disc (*WEST'WL'5190) 


It seems we just finished reviewing the MacDowell 
Concerto J^o. 2 (TNR, May 1953) played by 
Sanroma and the Eastman'Rochester Orchestra under 
Hanson (*C'ML'4638), and now we have another 
version. A third LP of this work is also in the 
catalogs, by Jenner and the Vienna State Opera 
Orchestra under Swoboda (*CH'CHS'1137). Admir' 
able as Miss Rivkin’s reading may be, it lacks the 
stature of either the Sanroma or Jenner recordings. 
It has good reproduction, less metalic than Sanroma, 
similar to Jenner. We believe some MacDowell 
authorities may well consider this the best of the lot, 
for Miss Rivkin has fine technical accuracy, and a 
warm, romantic feeling for the music, but for our 
taste it lacks vitality. 

However one may appraise the performance of 
the Second Concerto, it must be admitted that the 
second side of this disc is inferior to either the 
Columbia or Concert Hall discs. Columbia pairs 
Hanson’s Symphony T^o. 2 (“Romantic") and Con' 
cert Hall offers MacDowell’s Woodland Sketches 
played by Artur Balsam, either and both of which 
have more to say than MacDowell’s Concerto 7S(o. 1 . 
This work is not in the same class as his Second. 
It is a weak, affair of rather uninteresting thematic 
material; much of it sounds like piano etudes, and 
we were bored with it. Miss Rivkin strives valiantly 
to make something out of it and Dixon supplies a 
careful and enthusiastic accompaniment. This is its 
first recording and will probably be its last. S. 

• Indicates LP 88 rpm. 
0 Indicate* 45 rpm. 




The Ntfze; Records 



Marais: Suite No. 4 in A minor. One side, and 
Marais: Suite No. 5 in A. Ernst Victor Wolff 
(harpsichord) and Eva Heinetz (viola da gamba). 
M2" disc (*EMS'8) $5.95. 

Fux, Banchieri, Gesualdo, Solar, Farnaby, Char' 
pentier, and Marais, all important pre'dassical com' 
posers, have, after extensive phonographic neglect, 
received, within the last month or two, sudden and 
substantial representation on records; all of which 
we consider a wise and gratifying trend. Marais is 
our particular concern here, and even a cursory 
hearing of his works reveals a noteworthy talent, 
as opposed to one in which our interest is basically 
historical. One feels about him, as one does about 
Couperin, that his music reflects indelibly what 
has come to be known as the French spirit. 

These Suites are played, as is always the custom 
on EMS records, on the most authentic instruments. 
And, it must be said, that the performances of Mr. 
Wolff and Miss Heinetz match the suitability of those 
instruments. C. 

Tchaikovsky: Quartet No. 1 in D, Op. 11. One 
side, and Borodin: Quartet No. 2 in D. Holly' 
wood String Quartet. M2" disc (*CL'P'8187) 

This disc contains two of the most popular string 
quartets written by Russian composers. Tchaikovsky's 
is famous for its second movement “Andante Can' 
tabile" and the Borodin opus will be remembered 
for its beautiful third movement “Notturno." There 
are other LP recordings of these works but none 
the equal of the fine performances one will find 
upon the present disc. 

Baroque Music. Harpsichord Quartet: Claude Mon' 
teux (flute); Harry Shulman (oboe); Bernard 
Greenhouse (violoncello); Sylvia Marlowe (harp' 
sichord). M2" disc (*ESO'ES'517) $5.95. 
CONTENTS: (5) Canzoni per Sonar (Fresco' 
baldi); Sonata J^o. 2 in E minor (Rosenmuller) ; 
Le Pamasse ou VApotheose de Corelli (Couperin). 

Hovhannes: Quartet for Flute, Oboe, Violoncello, 
Harpsichord. Harpsichord Quartet. And Lessard: 
Toccata in Four Movements. One side, and 
Thomson: Sonata No. 4. And Rieti: Sonata all’ 
Antica. Sylvia Marlowe (harpsichord). M2" disc 
(*NEW EDITIONS NE'3) $5.95. 

On the Esoteric disc the Harpsichord Quartet 
makes its debut on records and it is a most valuable 
addition to the phonographic honors list. Its per' 
formance of Baroque music maintains such respon' 
siveness to the art with which it is dealing that 
it may be said to be able to do for the music of 
that period what the Pro Musica Antiqua is doing 
for the music of the Medieval and Renaissance times. 
The Quartet plays only the very short Hovhannes 

work on the New Editions record, the major por' 
tion of that recording being occupied by Sylvia 
Marlowe, who is justly praised as “one of the most 
brilliant executants of our time." This is the first 
extensive recording of the solo harpsichord perform' 
ing 20th century works, and the results make this 
an indispensable disc for lovers of the instrument 
which, probably above all others, combines in per' 
feet fashion both purity and flexibility. The signifi' 
cant and unusual tonal and dramatic qualities 
achieved are strong justification for the renaissance 
of this instrument. C. 

R. Strauss: Suite in B-flat, Op. 4. One side, and 
R. Strauss: Serenade in E-flat, Op. 7. Vienna 
Philharmonic Wind Group. M2" disc (*WEST' 
WL'5185) $5.95. 

These earlier works of Richard Strauss (com' 
posed before he was 21 years of age) are of more 
historical interest than musical value. They show 
the young composer's interest in various instruments, 
which interest doubtless flowered into his later great 
flair for orchestration. The present two selections 
for wind instruments (flutes, oboes, clarinets, bas' 
soons, contra bassoons and horns) are pleasing 
enough to listen to but will be of real interest only 
to students of the music of that outstanding German 
composer who largely dominated the musical scene 
of his native land from the 1890's until his recent 
death in 1949. 

Schubert: Quartet No. 14 in D minor (“Der Tod 
und das Madchen''). Hungarian Quartet. M2" 
disc (*CH'CHS'1152) $5.95. 

Schubert: Trio No. 1 in B-flat, Op. 99. Jean Four' 
nier (violin), Antonio Janigro (violoncello) and 
Paul Badura'Skoda (piano). M2" disc ( * WEST' 
WL'5188) $5.95. 

Schubert: Octet in F, Op. 166. Chamber Music 
Ensemble of the Berlin Philharmonic Orchestra. 
M2" disc (*D'DL'9669) $5.85. 

There are numerous LP recordings of these popU' 
lar Schubert chamber works already in the catalog, 
but we want our readers to know that the present 
versions are available. We found these three discs 
all quite satisfactory. We were particularly impressed 
with Westminster disc containing the Trio 7s [o. 1 
in B'flat, Op. 99. 


Bach: St. Matthew Passion (excerpts). (Sung in 
German). Orchestra and Chorus of the Danish 
State Radio conducted by Mogens Woldike. M2" 
disc (*HS'HSL'2070) $5.95. 

Bach's Passion According to St. Matthew has been 
accorded two “complete'' £P recordings. As one 
might expect of a work of such scope, perfect or 
ideal performances are not the order of the day. 
This statement is not meant in any snide fashion — 



Indicates LP 88 rpm. 
0 indicates 45 rpm 


The New R ecords 1953 

ideal performances of any major work are few and 
far between. By the same token abridged or trim* 
cated versions of lengthy works are open to criticism. 
Who can decide what to delete, what to include? 
In very few instances are “streamlined” versions 
of longer works satisfactory. 

Consequently, it is a real pleasure to come across 
a disc that intelligently makes no attempt at abridge' 
ment (despite the Schwann catalog's listing of this 
record as such). As a matter of fact, the present 
recording is solely designed to introduce the listener 
to one of the three main media of the St. Matthew 
Passion (the other two are the aria and the recita* 
tive). Thus the record contains seven chorales, three 
double choruses, including the opening and closing 
ones and the choral' fantasia which forms the finale 
to Part I of the Passion. That is all, for it was 
not considered feasible nor proper to include the 
choral parts that intensify the drama, the outbursts 
of terror or disdain or the mocking choruses. 

Mogens Woldike’s conception of this moving music 
is an enchanting one. His intentions are to present 
the music with “some of the simplicity and unpretem 
tiousness which must have characterized the early 
performances.” No attempt is made to dramatize 
or “interpret” — the music . is sung in such a way 
“that a congregation could easily join in, as was 
expected of it in the 18th century.” 

This performance, then, by the Orchestra and 
Chorus of the Danish State Radio, is unique and 
will not please those who look for monumental 
effects and masses of sound. It will please all those 
who have an open mind and who are willing to be 
led back to the early years of the 18th century when 
this matchless music was first heard. 

Superior recording, scholarly and readable notes 
plus the complete texts round off another Haydn 
Society triumph. W. 

Bach: Cantata No. 1 (“Wie schon leuchtet der 
Morgenstern”). One side, and Bach: Cantata No. 
19 (“Es erhub sich ein Streit”). (Sung in Ger* 
man). Gunthild Weber (soprano); Helmut Krebs 
(tenor); Hermann Schey (bass); Berlin Motet 
Choir; Berlin Philharmonic Orchestra conducted 
by Fritz Lehmann. IT 2" disc (*D'DL'967l) 

Bach: Cantata No. 39 (“Brich dem Hungrigen dein 
Brod”). One side, and Bach: Cantata No. 79 
(“Gott, der Herr, ist Sonn' und Schild”). (Sung 
in German). Gunthild Weber (soprano); Lore 
Fischer (alto); Hermann Schey (bass); Berlin 
Motet Choir; Berlin Philharmonic Orchestra con* 
ducted by Fritz Lehmann. M2" disc (*D'DL' 
9672) $5.85. 

Four Bach Cantatas, three of them new to records, 
enliven this month’s lists. All four are performed 
by essentially the same artists and are, in general, 
distinguished — at times elegant — performances. 
Cantata ?S[o. 1 “Wie schon leuchtet,” despite the 

low numbering (this is the Bach Gesellschaft sys' 
tern), is a work of the mature Bach and was written 
for the Feast of the Annunciation. It is a joyous 
and serene work as befits the subject matter. Cantata 
Tsfo. 19 “Es erhub sich ein Streit” is a somewhat 
earlier piece and is the first work of this nature to 
be written to a text by the now famous “Picander” 
(Christian Friedrich Henrici). It is a Michaelmas 
cantata and contains some very fascinating passages 
depicting the struggle between the Archangel Michael 
and the dragon. Cantatas J\[o. 39 “Brich dem Hun' 
grigen dein Brod” and 7 s[o. 79 “Gott, derr Herr” are 
equally fine. The former is a special work for a 
Thanksgiving Service of welcome for some eighteen 
hundred persons driven, because of war, from their 
homes in Salzburg. The latter is a companion piece 
to the more famous Cantata ?{o. 80 “Ein Feste 
Burg” and, like it, was written for the Reformation 

The soloists are, in every respect, first rate artists, 
excellently equipped vocally and temperamentally for 
the music. Briefly one may say that Krebs has a 
very pleasant tenor voice that is used well, Gunthild 
Weber is a lyric soprano of merit, Lore Fischer an 
alto of considerable charm and the veteran Schey 
sings with distinction. The accompanying orchestra, 
members of the Berlin Philharmonic, are superb, and 
the use of old instruments and a baroque organ lend 
a quaint, archaic air to the proceedings that is utterly 
disarming. Then, too, Fritz Lehmann’s relaxed direc' 
tion and the accurate, expressive singing of the Berlin 
Motet Choir are just what the music requires. These 
two discs are indeed valuable additions to the swell' 
ing list of recorded performances of the Bach Can' 

Superior notes and top flight recording assure 
the purchaser of a maximum amount of listening 
enjoyment. W. 

A Festival of Choral Music. Choral Chamber Group 

of Pamplona conducted by Luis Morondo. M2" 
disc (*WEST'WL'519 5) $5.95. 

CONTENTS; O vos omnes (Victoria); Quedito 
pasito que dureme (Hidalgo); Campanas (Senfl); 
Dureme Pequinin, La Campana, Pobre Corazon (Re' 
boud); Ribernas (Remacha); VenerabiVs barba ca' 
puccinorum (Donosti); (3 ) Canciones y un pregon 
(anon.); El Perro de A guas, M ozuca (Do Vital); 
Husar Gentil (Matyas Seber); Alborada (Ledesma); 
Triste Recuerdo (Massa). 

Really good news seldom makes the headlines of 
our daily papers. This is, of course, as regrettable 
as it is expected. Thus it remains for The New 
Records to announce this disc, issued by West' 
minster. The good news is not so much concerned 
with the music (which is none the less very fine) 
as it is with the music makers. 

The Choral Chamber Group of Pamplona is an 
ensemble of sixteen amateurs (secretaries, clerks, 
etc. in their daily lives) that is directed by an insur' 

* Indicates LP 88^3 rpm. 
0 indicates 45 rpm. 




The New R ecords 


ance company employee! And, what is even more 
astonishing, they intend to remain amateurs and 
insist on earning their living in nommusical fields. 
Thus they do not make any extended tours, and 
only on their collective vacations are they able to 
make quick trips to Wales, France and Germany. 
That such a group of dedicated people exists is, in 
itself, very good news; that they sing in such an 
astonishingly fine manner is an added dividend. 

The program on this disc was recorded during 
an actual performance in the abbey Royaumont, 
France. The music, some of it folk material, is all 
by composers about whom, with the exception of 
Victoria and Senfl, this reviewer has never heard. 
The opening piece, Victoria's O vos omnes, is a 
classic and is sung to perfection. Throughout the 
disc one is constantly surprised by the accurate 
dynamics, the control, the phrasing and, above all, 
the high purpose of the group. Luis Morondo is a 
man to be reckoned with, and his choral group is 
a superb aggregation. 

The quality of the singing reminded this reviewer 
of the old Orfeo Catala records but, of course, with 
the more advanced recording techniques available 
today the present group surpasses the older one by 
a wide margin insofar as sound is concerned. Yet 
the “extra'musical" characteristics of both ensem' 
bles are very similar. 

Fine recording; but Westminster, usually so 
meticulous about such matters, has not furnished 
any notes worthy of the name. W. 

Vaughan Williams: Mass in G minor. One side, 

and Rubbra: Missa in Honorem Sancti Dominici. 

Fleet Street Choir conducted by T. B. Lawrence. 

M2" disc (*L'LL'80?) $5.95. 

In a “special commemorative Coronation release" 
London issues a first recording of two ecclesiastical 
works by British composers. The first, a Mass in G 
minor by Ralph Vaughan Williams, dates from 1922, 
while the other, Missa in Honorem Sancti Dominici 
by Edmund Rubbra (1901' ) was composed in 

1948. Both are written in accordance with Pius X’s 
Motu Proprio, which states, among other things, 
that “the liturgical text must be sung without altera' 
tion or inversion of words, without undue repetition 
and always in a manner intelligible to the faithful. 
... It is not lawful to keep the priest waiting on 
account of the music." Thus both Masses are in' 
tended for actual Church use, either in the Roman 
Communion or in the Anglican. 

Vaughan Williams’ work is, musically, one of 
his most characteristic utterances, showing the in' 
fluence of the Tudor composers; but, as is always 
the case with a good musician, the influences have 
been thoroughly assimilated and turned to original 
uses. The Mass in G minor is an austere work, 
remote and plain and, despite its relatively modern 
origin, full of sixteenth century atmosphere. 

Dr. Rubbra’s effort is equally severe, but it lacks 

the inspiration and poetry of his one'time teacher’s. 
It is terse, eminently suited for church use, for 
there is no repetition, nothing to hold up the move' 
ment of the ritual. 

The Fleet Street Choir, founded (and directed 
here) by the late T. B. Lawrence, is a superior 
organization; they sing with precision and excellent 
tonal quality. The unearned soloists in the Vaughan 
Williams piece are adequate but not exceptional. 

London has given both works fine recording, 
and there are notes, somewhat technical analyses 
that will please the specialist but leave the average 
music lover cold. W. 

Stravinsky: Symphonic des Psaumcs. RIAS Cham' 
ber and Boys’ Choir, St. Hedwig’s Cathedral 
Choir, RIAS Symphony Orchestra conducted by 
Ferenc Fricsay. MO" disc (*D'DL'7526) $3.85. 
This recording contains an aggomleration of 
shouting and whispering and therefore conveys little 
of the cogency of the music that has been called 
“the most important religious work of the 20th 
century.” As the best recording of this work avail' 
able we would recommend the one conducted by 
the composer (*C'ML'4129) (TNR Apr. ’49). 

Lieder of Beethoven, Schubert and Schumann. 

Dietrich Fischer'Dieskau. 4'7" in box (0V' 

WHMVT046) $5.14. M2" disc (*V'LHMV' 

1046) $5.95. 

CONTENTS: An die feme Geliebte, Op. 98 
(Beethoven). Standchen; Das Fischermadchen; Der 
Erl1{dnig, Op. 1; l^acht und Trdume, Op. 43, 7\ [o. 2; 
Du bist die Ruh\ Op. 59, >(o. 3; Der Atlas; Am 
M eer; Der Doppelganger (Schubert). Mondnacht, 
Op. 39; Die beiden Grenadiere, Op. 49, “Ho. I 

Considerable publicity has attended the various 
recordings made by the young (b. 1925) German 
baritone, Dietrich Fischer'Dieskau. Great names have 
been freely evoked (Hiisch and Schlusnus by one 
reviewer) and thus, it was with interest that one 
greeted this HMV disc that contains much that has 
been recorded before and includes material that 
makes many demands, both technically and artistically 
— in short, a dangerous program. 

Fischer'Dieskau’s previously released recordings 
in this country consisted, in the main, of his work 
in a series of Bach Cantatas (issued by Decca) 
and a really good performance of Brahms’ Vier 
ernste Gesange. Thus it came as something of a 
shock to hear the Beethoven song cycle An die feme 
Geliebte sung in such an ^exaggerated and labored 
fashion. Fischer'Dieskau’s absurd choice of tempi 
(lugubriously slow) and his mannered and misplaced 
emphases make the recording one to be avoided at 
all costs. 



Indicates LP 88 rpm 
0 Indicates 45 rpm. 


lifte New Records 1953 

Unfortunately things do not improve in the 
Schubert and Schumann I ieder, even the thrice 
familiar Serenade has a strange sound about it, 
and the wonderful Hacht und Traume misses fire 
completely. Misplaced, almost amateurish “drama' 
tics" mar the superb music of Der Erl\onig and Der 
Doppelganger as well. 

The record, as can be gathered from the above, 
is a disappointment, particularly in view of Fischer' 
Dieskau's essentially fine voice. One can only sin' 
cerely hope that some time soon the singer's artistry 
will catch up with his technical ability. 

Absurdly inadequate notes and no texts complete 
one of the year's most ineffective offerings. W. 
Lieder of Mozart and Richard Strauss. Suzanne 
Danco (soprano) accompanied by Guido Agosti 
(piano). MO" disc (*L'LS'699) $4.95. 
CONTENTS: Das Veilchen, K. 476; Abendemp' 
findung, K. 52 3; Dans un bois solitaire, K. 308; 
An Chloe, K. 524 (Mozart). Morgen, Op. 27, Ho. 4; 
Stdndchen, Op. 17, Ho. 2; Traum durch die Dam' 
merung, Op. 29, Ho. 1; Z ueignung, Op. 10, Ho. 1 ; 
Freundliche Vision, Op. 48, Ho. 1 (R. Strauss). 

A Recital of 17th and 18th Century Music. 
Suzanne Danco (soprano) accompanied by Jeanne 
Demessieux (organ) and Guido Agosti (piano). 
MO" disc (*L'LS'698) $4.95. 

CONTENTS : Eile mich, Gott, zu erretten 
(Schiitz); Bist du bet mir (Bach); W arum betrubst 
du dich (Bach); Komm, susser Tod (Bach); Paride 
ed Elena — O del mio dolce ardor (Gluck); La donna 
ancora e fedele — Se Fiorina e fedele (A. Scarlatti); 
Come raggio del sol (Caldara); Danza, danza (Dur' 
ante); Amarilli, mia bella (Caccini). 

The art of Suzanne Danco is constantly being 
revealed in its many facets via London recordings. 
Here are two discs that demonstrate anew, if that 
were necessary, that Mile. Danco is a superior 
singer, one whose understanding of the various 
musical styles is at once comprehensive and inclusive. 

The first disc is devoted to lieder of Mozart and 
Strauss. Now Mozart, beyond a doubt the most 
gifted of composers, never wrote many songs and 
never spent much time or effort on the form. Despite 
this, several of the songs recorded here are real gems, 
giving an inkling of what might have been, had 
Mozart really devoted himself to song writing. In all 
events, these examples of Mozart lieder are exquisitely 
sung — particularly delightful are the charming Dans 
un bois solitaire and the wonderful Das Veilchen, 
which is really not a song at all but an operatic 
scena in miniature. Strauss' songs are represented 
by the more popular ones, and deservedly so. Such 
lieder as Traum durch die Dammerung and Morgen 
rank among the best, and Miss Danco sings them 
with understanding and taste. 

It is a considerable jump, both in time and style, 
to Schiitz, Caldara and Caccini, and Mile, Danco 
makes the necessary vocal and stylistic changes like 

the true artist she is. It is in such songs and arias 
as these that one notes the extreme purity of her 
tones, the essential musicality of her voice. These 
old compositions are not for the inexperienced singer 
— they require an intangible quality that can be best 
described, for want of a better phrase, as vocal 
dignity, that comes only with experience. 

London has supplied good notes on the music but, 
unfortunately, did not see fit to furnish the texts. 
Good recorded sound. W. 

Classical Arias. Gerard Souzay (baritone) with l'Or' 
chestre de la Societe des Concerts du Conservatoire 
de Paris conducted by Robert Cornman. MO" disc 
(*L'LS'730) $4.95. 

CONTENTS: Mentre ti lascio, 0 figlia, K. 513 
(Mozart); II Sedicia — Caldo sangue (Scarlatti, A.); 
A Iceste — Air de Caron (Lully); Cadmus et Her' 
mione — Air de Cadmus (Lully); Les Pelerins de la 
Macque — C'est un torrent impetueux (Gluck); Cas' 
tor et Pollux — Nature amour (Rameau). 

Schubert Recital. Gerard Souzay (baritone) accom' 
panied by Jacqueline Bonneau (piano). MO" disc 
(*L'LS'655) $4.95. 

CONTENTS: Der Jungling und der Tod; Der 
Jiingling an der Quelle; Der W anderer an der Mond; 
Ihr Bild; Liebesbotschaft; Der Schiffer; Ganymed; 
Erster Verlust; Die Forelle; Hacht und Traume. 

The first of these two discs by the excellent French 
baritone, Gerard Souzay, is devoted to “classical 
arias" (i.e., Mozart, Scarlatti, Lully, Gluck and 
Rameau). Lumping together such different com' 
posers under the general heading “classical" is both 
dangerous and misleading. The Mozart piece is 
“classic" only in the use of a stilted, horrendous 
text, the music is vibrant and alive although its 
meaning and proper projection elude both M. Souzay 
and his conductor. The other music, being more 
conventional and on a lower artistic plane (opera 
seria ), is less difficult since no amount of artistry 
could galvanize it into life. The various arias 
remain corpses, fascinating (if that is the proper 
word) as relics of a bygone era, but little more. 
Both soloist and conductor are happier in these 
latter pieces and the results are entertaining. 

Of much more musical interest and artistic merit 
is the Schubert recital, wherein Gerard Souzay re' 
veals his great natural gifts as a lieder singer. The 
selection of material is very good, too, being a happy 
choice between the familiar and the unfamiliar. AH 
are superbly sung, and it is in the better known 
songs, such as Die Forelle and Der Wanderer, that 
Souzay rises to the occasion, for here competition, 
as it were, is keen, but he has nothing to fear — his 
singing of these songs can stand comparison with 
the very best. Particularly worthy of note is his 
exquisite and expressive singing of the autistic Hacht 
und Traume. Mile. Bonneau's accompaniments fit 
like the proverbial glove and the disc deserves a wide 

• Indicate! LP 83 }/$ rpm. 
t fy Indicates 45 rpm. 


PAGE 10 


T he Nm Records ^ 

hearing. Texts and translations, albeit in London's 
“copyright" fine print, are supplied. W. 

Old Italian Airs. Giacinto Prandelli (tenor) accom* 
panied by Dick Marzollo (piano). IT 2" disc 
(*VX'PL'7930) $5.95. 

CONTENTS: Su, venite a consiglio (Scarlatti); 
Pur dicesti, o bocca bella (Lotti); Vergine, tutto 
amor (Durante); Ah se tu dormi ancora (Bassani); 
Sebben, crudele (Caldara); Intorno all idol mio 
(Cesti); Caro mio ben (Giordani); Sento nel core 
(Scarlatti); Paride ed Elena — Ol del mio dolce ardor 
(Gluck); Lasciar d’amarti (Gasparini); Che fiero 
costume (Legrenzi); Tre giorni son che T^ina (Per' 
golesi); Vittoria, mio core! (Carissimi). 

Canzone Scordate (“Forgotten Songs"). Gerard 
Souzay (baritone) accompanied by Jacqueline 
Bonneau (piano). 1T2" disc (*L'LL'731) $5.95. 
CONTENTS: (7) Italian Monodies (1609' 1634); 
(5) A. Scarlatti Songs (1659T725); (4) Sacred 
Songs (1629T700); (3) C. P. E. Bach Songs (1714' 

The many treasures of old Italian music are 
being brought forth these days in abundance, if not 
in all their glory, and at least one can recognize 
some of the grandeur of the extraordinary minds 
that called them into being. 

Giacinto Prandelli, a tenor of more than passing 
musical intelligence, sings thirteen assorted arias 
with polish and accuracy. Some of the pieces will be 
familiar to phonophiles in recordings by Gigli 
(notably the Sebben, crudele; Vergine, tutto amor; 
and Carissimi's lovely Vittoria, mio core to mention 
but a few) and, while Prandelli has neither the vocal 
equipment nor the experience of his elder and more 
famous counterpart, he does not suffer unduly by 

The chief criticism one can offer about this record 
(and also about the one reviewed below) is to 
deplore the use of a piano for the accompaniments. 
The use of a small chamber orchestra (or at least 
a harpsichord!) would be infinitely preferable. The 
piano is not only anachronistic, it detracts from the 
spirit and style of the music. 

London’s offering is one of the least successful 
in this field, and yet it could have been outstanding 
with a little care and imagination. To begin with, 
the seven Italian monodies are not identified. Care' 
ful reading of the notes, written by arranger Dorums' 
gaard, indicates that they are songs (or maybe arias) 
by Peri, Calestani, DTndia, Caccini (2), Rontani 
and Falconeri — but one has to guess which band 
contains which, for the label merely reads “Seven 
Italian Monodies." (And, as Shakespeare tersely 
put it “We need no ghost come from the grave to 
tell us that!"). The four sacred songs are by Helder, 
Corner, Georg Bohm (one of J. S. Bach's teachers) 
and Daniel Vetter — all truly forgotten composers. 
C. P. E. Bach's songs, three of which finish out the 

second side, are characteristic — that is, a little dull, 
scholarly and sincere. 

Gerard Souzay sings the majority of the music 
with everything but the necessary touch of imagina' 
tion that would lift the disc into the category of 
memorable. As it is, the almost complete lack of 
identification (despite the copious and strangely 
uninformative notes by Dorumsgaard — in exceedingly 
fine print, by the way) plus the absence of texts 
make the disc at once difficult and annoying. W. 

Britten: (4) Songs. One side, and Hindemith: (9) 

English Songs (1942). Barbara Troxell (soprano) 

accompanied by Tibor Kozma (piano). IT 2* disc 

(*WCFM'LPT5) $5.95. 

CONTENTS: On this Island (song cycle), Fish 
in the Unruffled La\es, Mother Comfort, Underneath 
the Abject Willow (Britten); (9) English Songs 
(1942) (Hindemith) 

One of the smaller recording companies who can 
always be counted on to issue records that have 
both musical and artistic merit is the WCFM Record' 
ing Corp. This, their fifteenth release, is no excep' 
tion; the choice of material is unhackneyed, and the 
presentation is all anyone could ask for. 

The Britten song cycle, a setting of five poems by 
W. H. Auden, is one of the better examples of song 
writing in the modern manner. This does not mean, 
however, that the music is cacophonous; on the 
contrary, there are an almost classic simplicity and 
a musical understatement that is very effective. The 
same characteristics are evident in the other songs 
and in the Two Ballads for two voices and piano. 
The idea of having Miss Troxell sing both parts is 
not too good for, despite the two sounds, it is still 
the same voice and some of the effectiveness of the 
ballads is lost. 

The Hindemith items are settings of various Eng' 
lish and American poets, ranging from William Blake 
and Thomas Moore to Shelly, Walt Whitman and 
Francis Thompson. The nine songs vary in musical 
texture and cover a wide range of emotional content 
from the dramatic The Moon to the charming Echo. 
Humor, not usually one of Hindemith’s musical 
characteristics, is evident in The Whistling Thief 
and a certain mordant wit is noticeable in the sub' 
jective On a Fly Drinking Out of His Cup. 

Miss Troxell exhibits considerable vocal mastery 
as well as a more than passing degree of imagination 
in handling the sometimes difficult material. The 
many divers moods are captured and projected with 
a sureness that speaks highly for Miss Troxell's 
musical intelligence. Vocally, of course, her accurately 
placed and well produced lyric soprano is always 
pleasant and adds charm and distinction to the 
songs. Tibor Kozma is always the able accompanist, 
seconding the soloist’s efforts in a sure, but never 
aggressive, manner. Since none of this music has 
ever been recorded before the informative notes 
are a decided asset, as is the fine recording. W. 

• Indicates J.P 88 rpnr 
0 indicates 45 rpin 




The Nezp R ecords 


Beethoven: An die feme Geliebte, Op. 98. (Sung 
in German). Heinrich Schlusnus (baritone) ac' 
companied by Sebastian Peschko (piano). One 
side, and Brahms: (4) ernste Gesange, Op. 121. 
(Sung in German). Dietrich Fischer-Dieskau 
(baritone) accompanied by Hertha Klust (piano). 
M2" disc (*D-DL-9668) $5.85. 

Beethoven’s song cycle An die {erne Geliebte and 
Brahms’ Vier ernste Gesange each receive its fifth 
recorded performance on this new Decca release. 

The art of the late Heinrich Schlusnus has been 
much admired in some quarters, and nothing this 
reviewer could write would change the opinion 
of those admirers; yet, as one hears this recording, 
one wonders what it is that made so many people 
praise his singing? Certainly the voice was a beau' 
tiful one, but surely there is more required of a 
singer? (This all has a familiar ring — one has writ' 
ten in a similar vein before). As an example, take the 
third song Leichte Segler in den Hohen that is sung 
here in a jerky, bouncing manner that only makes it 
ridiculous. No, Herr Schlusnus is not for this listen- 
er’s ears and, if comparisons are indicated, hear 
Alfred Poell on Westminster (TNR June ’52) sing 
this beautiful cycle and reveal all its charm and 

Quite a different affair is Dietrich Fischer-Dieskau’s 
virile singing of the Vier ernste Gesange. This per- 
formance outranks the other four by a considerable 
margin, the closest competition being furnished by 
Kathleen Ferrier on a London disc (TNR Apr. ’51). 
Dietrich Fischer-Dieskau is a very talented young 
man with a flexible, colorful bass'baritone. His 
understanding is of a high order, and this recorded 
performance of these songs, the product of Brahms’ 
sixty'third year, is a compelling one. Outstanding 
is the wonderful Wenn ich mit M enschen und 
Engelszungen redete. Expert accompaniments are 
supplied by Hertha Klust. 

The recording is good, if not exceptional and 
better than average notes are supplied on the jacket. 
As is too frequently the case, however, the texts 
are not supplied. W. 

Schubert — arr. Berte: Das Dreimaderlhaus. (Sung 
in German). Soloists, Akademie Kammerchor and 
Vienna State Philharmonia conducted by Karl 
von Pauspertl. 1-12" disc (*VX-PL- 20800) $5.95. 

Suppe: Die Schone Galathee (‘‘The Beautiful 
Galatea”). (Sung in German). Soloists, Akademie 
Kammerchor and Vienna State Philharmonia con' 
ducted by Hans Hagen. M2" disc (*VX'PL' 
20200) $5.95. 

Messager: Veronique. (Sung in French). Soloists, 
Raymond St. Paul Chorus and Lamoureux Orches' 
tra conducted by Jules Gressier. M 2" disc ( *VX ' 
PL'21 100) $5.95. 

This month we have recordings of three light 
operas that have stood the test of time and are 

still popular in Europe. . . . Das Dreimaderlhaus 
dates from 1916 and its first run in Berlin ran to 
over 500 performances. The story is based on mythi- 
cal incidents in the life of Franz Schubert, and the 
music consists of arrangements of the melodies of 
that great composer. This abridged recording is quite 
delightful. . . . Die Schone Galathee dates from 
1865 and is one of Suppe’s most popular operettas. 
It is in one act and we believe that the present 
recording is a complete one. The artists are well 
qualified for their task, and the reproduction through' 
out is excellent. . . . Veronique was first produced 
in Paris in 1898 and an English adaptation was quite 
successful in both London and the United States 
in the early 1900’s. As it is a three'act comic opera 
the present recording is an abridged version. It has 
many gay tunes and should prove a pleasing novelty 
to present'day music lovers. 

British Traditional Ballads in America. Shep Gin' 
andes (vocal and guitar). M0" disc (*ELEKTRA 
EKLP'4) $4.45. 

CONTENTS: The Golden Willow Tree (in 
English); The Cruel Mother (in English); Lord 
Bateman (in English); Edward (in English); Lord 
Randall (in Welsh); Lord Thomas and Fair Elinor e 
(in English). 

English Folk Songs. Wallace House (vocal and 
guitar). M0" disc (*FOLK-FP-823) $4.45. 
CONTENTS: I'm Seventeen Cum Sunday; On 
IlJ{ley Moore; The Lover's Departure; Poachers of 
Lincolnshire; Old Farmer Buc\; Because I Were Shy; 
Herchard O’ Taunton Dean; Tally Ho! My Sports' 
men; Johnny, My Jingalo; The Eddystone Light; 
Turmut Hoeing; ]ac\ Hall; AA Hope Te’ll Be 
Kind to Me Dowter; Bar\shire Tragedy; The Derby 
Tup; Jan’s Courtship. 

Anglo-American Ballads. Hermes Nye (vocal and 
guitar). MO" disc (*FOLK'FP-37) $4.45. 
CONTENTS: John Peel; The Mermaid; Earl 
Richard; Earl of Murray; The Red Herring; Green' 
land Fisher; Bailiff’s Daughter; A Worth Country 
Maid; King Arthur Had Three Sons; Tomorrow is 
St. Valentine’s Day. 

Lack of space permits us merely to list the above 
records. We have, however, indicated their con' 
tents which we hope will sufficiently identify them 
for collectors of folk recordings. 

"Deep River.” William Warfield (baritone) with 
the Columbia Symphony Orchestra conducted by 
Lehman Engel. 1-10" disc (*C'AAL'32) $2.85. 
CONTENTS: Deep River; Water Boy; Without 
a Song; M ah Lindy Lou; Jeanie with the Light 
Brown Hair; Dusty Road. 

There is always a demand for recordings by 
the great Negro baritone, William Warfield, and 
so we are sure that there is a waiting demand for 

Indicate! LP 83 rpm. 


PASS 12 


The New Records 


the present disc. This should be especially true 
because Mr. Warfield has chosen for this record 
several selections for which he is particularly famous. 

A Roland Hayes Recital. Roland Hayes (tenor) 

accompanied by Reginald Boardman (piano). 

M2" disc (*A'44(M2'3) $5.95. 

CONTENTS: Have you seen but a white lilie 
grow (Old English); Come again, Sweet Love doth 
now invite (Dowland); Greensleeves (Old English); 
Orfeo — Vi ricordo o bosch’ ombrosi (Monteverdi); 
Tamerlano — Figlia mia, non pianger no (Handel); 
W arnung, K. 433 (Mozart); Wonne der W ehmuth, 
Op. 83, Ho. 1 (Beethoven); Du bist die Ruh\ Op. 
59, Ho. 3 (Schubert); W ohin?, Op. 25, Ho. 2 
(Schubert); H^cht und Trdume, Op. 43, Ho. 2 
(Schubert); Auch \leine Dinge (Wolf); Beau soir 
(Debussy); M icheu Banjo (Creole Folksong — arr. 
Nickerson); Poeme Persiano (Santoliquido) ; To 
people who have gardens (Scottish Folksong — arr. 
Hopekirk); (3) Aframerican Religious Folksongs 
(arr. Hayes); (5) Hegro Wor\songs (arr. Hall). 

This LP disc presents the many facets of the 
great art of the distinguished Negro singer, Roland 
Hayes. Beginning with a group of Old English 
Folksongs Mr. Hayes continues through Monteverdi, 
Handel, Mozart, Beethoven, Schubert, Wolf, De' 
bussy and concludes with a cycle of Negro Work' 
songs. With this disc we have a perfect picture 
of this artist. Everything he touches is marked with 
his fine sense of style and is presented in the best 
of taste. This is not a record of the singer, Roland 
Hayes; it is a highly diversified concert by an artist 
of the first rank. There is a difference. 

Russian Arias. Boris Christoff (bass) with the Phil' 
harmonia Orchestra. One side, and Russian Songs. 
Boris Christoff (bass) accompanied by Gerald 
Moore (piano). 4'7" discs in box (0V'WHMV' 
1033) $5.14. $1-1 2" disc (*V'LHMV'1033) 


CONTENTS: Legend of the Invisible City of 
Kitezh — Prince Youri’s Aria (Rimsky'Korsakov) ; 
Khovantchina — Dositheu’s Aria (Moussorgsky) ; Eu' 
gen Onegin — Prince Gremin’s Aria (Tchaikovsky); 
Song of the Volga Boatman (trad.); The Prophet, 
Op. 49, Ho. 2 (Rimsky'Korsakov); Softly the Spirit 
Flew up to Heaven (Moussorgsky); Field Marshal 
Death (from “Songs and Dances of Death”) 
(Moussorgsky); Siberian Prisoner’s Song (trad.); 
The Grave (Moussorgsky); Song of the Flea (Mous' 

Very infrequently a young singer appears who 
bears the stamp of greatness, both vocally and 
artistically. Such an artist is the youthful Bulgarian 
basso, Boris Christoff. Still in his early thirties, 
Christoff has, from his very first recordings, exhibited 

his mastery of vocal techniques and shown a dramatic 
flair, a knowledge of style and an ability to “act” 
musically. His great achievement in this direction 
was, of course, the wonderful recording of Boris 

This present disc, a further sampling of his varied 
art, is an impressive one. Here unfamiliar music 
rubs shoulders with the very familiar (almost trite), 
and it is a tribute to his great interpretive ability 
that both kinds of music sound fresh, are of genuine 
interest and are, on all counts, convincing. The aria 
of Prince Youri from Rimsky'Korsakov’s Legend of 
the Invisible City of Kitezh is admirable music, son' 
orously sung. The Khovantchina excerpt is superb, 
one of those long monologues Moussorgsky delighted 
in and which repays so well careful and repeated 
hearings. Tchaikovsky’s Eugen Onegin deserves 
more hearings and the aria recorded here is both 
an eye' and ear'opener. The songs are treated in an 
equally dramatic manner; and properly too, for with 
few exceptions they could be operatic excerpts. 

Christoff’s voice is a great natural deep bass that 
is musical and uncommonly impressive. Comparisons 
are frequently being drawn between this young artist 
and the late Feodor Chaliapin. A resemblance cer' 
tainly exists; but, for this writer, Christoff has every 
bit as much vocal equipment as Chaliapin plus a 
greater sensibility and more musicianship — in short 
he is less of a personality and more of an artist. 

The recording is good, but the notes are hardly 
worthy of the name. W. 

Smetana: The Bartered Bride (complete). (Sung 
in Czech). Milada Musilova, Jarmila Pechova 
(sopranos); Oldrich Kovar, Ivo Zidek (tenors); 
Karel Kalas (bass); Chorus and Orchestra of the 
Prague National Theatre conducted by Jan Vogal. 
3' 12" discs in album (*UR'URLP'231 ) $18.50. 
Proponents of opera sung in its original tongue 
can enjoy making a very interesting comparison with 
this issue of Smetana’s ever green The Bartered 
Bride. Whether one prefers Prodana Hevesta or 
Die Ver\aufte Braut is, of course, a matter of 
personal taste, aesthetics or emotion. The present 
writer has always felt that any opera carries a greater 
impact when sung in its original tongue and thus is 
predisposed to favor this present recording of 
the Bartered Bride over the earlier issue, also by 
Urania, in German. 

There is little to chose from between the two 
sets insofar as vocalists are concerned. In the present 
recording, however, the cast is drawn from among 
native Czech singers who understand the idiom and 
thus are able to infuse more naturalness and vivacity 
into the proceedings. This is important, particularly 
in view of the fact that there are no outstanding 
voices in the cast. Milada Musilova is a sprightly 
Marenka with an acceptable lyric soprano. Jenik is 
sung by Ivo Zidek, an average tenor who has some 
difficulties with his upper register. When he can 

PAGE 13 


indicate* LP S$y 3 rpm. 
0 indicate* 46 rpm 


like N ew Records 


stay below an A, he does very well indeed. Kecal, 
the marriage broker, is portrayed by a fuzzy sort 
of bass named Karel Balas, who improves as the 
opera proceeds. Others in the long cast are of vary' 
ing degrees of excellence. 

What holds this performance together and gives 
it conviction, however, is the spirit with which each 
member of the cast enters into his particular job. 
The result is a production that can be truthfully 
described as enjoyable. Naturally, much of the credit 
for this state of affairs is due Jan Vogal for his 
strong and musicianly direction. The chorus is 
excellent throughout. 

Urania's recording is good, but not of the very 
high order of the Mefistofele or Lohengrin sets. 
Nonetheless, it is eminently listenable. An added 
feature is supplied by the erudite and readable notes 
on Smetana and the Bartered Bride by Abraham 
Veinus. W. 

Vivaldi: Serenata a Tre (“La Ninfa e II Pastore”). 
(Sung in Italian). Grete Rapisardi'Savio (so' 
prano); Silvana Zanolli (mezzo'soprano) ; Alfredo 
Bianchini (tenor); Orchestra da Camera di Milano 
conducted by Edwin Loehrer. 1'12* disc (*VX' 
PL'7990) $5.95. 

Shortly, (as history goes) after the invention of 
opera by the Florentine camarata, a group of men 
decided that opera would be good entertainment for 
the general public. To this end they opened a 
theatre in Venice, a city chosen because it was run 
by wealthy business men and a few noble families — 
no court nor royalty. It was not long before opera 
became the rage and, of course, also became stereo' 
typed. It was necessary for composers who wanted 
their works performed to write in the prevailing style; 
but they (and the more intelligent among the audi' 
ence) soon tired of the same stylized pieces, so both 
groups turned to a new form, the chamber opera 
or serenata. It was in this form that the experiment' 
ing was done — that a new and more advanced style 
was created. 

Such a work is Vivaldi's La ?{infa e II Pastore. 
The libretto is a collection of arias and recitatives 
that, while flowery and somewhat stilted, provides a 
serviceable frame upon which Vivaldi may hang 
some of his most graceful melodies. The singers 
are all excellent artists, particularly Grete Rapisardi' 
Savio who sings with a musical acumen that is rare 
in these days. Seconding her efforts is Silvana Zanolli, 
a thoroughly satisfying second soprano. Alfredo 
Bianchi is a good, if not exceptional tenor vocally. 
What is exceptional, however, is his good taste and 
musical understanding. 

The work was prepared for modern presentation 
by Vito Frazzi, who has done a tasteful job, partial' 
larly in the orchestration. Especially felicitous is the 
use of horns in the aria Alla caccia d’un cuore spie ' 
tato. Conductor Loehrer and the Milan Chamber 
Orchestra play with finesse and spirit. The whole 

recording is a worthy addition to the swelling list 
of Vivaldi, in particular, and to baroque music in 
general. First class recording, informative notes and 
the complete text (Italian'English) are supplied. 
Viva Vox! W. 

Charpentier: Medee (excerpts). Vocal and Instru' 
mental Ensemble directed by Nadia Boulanger. 
M2* disc (*D'DL'9678) $5.85. 

Marc' Antoine Charpentier (1634'1704) spent 
the first fifty years of his life in the shadow of Lully, 
the dominating figure of the time, and both he and 
his music have remained in relative obscurity ever 
since. This reviewer has always been fascinated by 
the music of obscure and forgotten composers (there 
are literally tons of unpublished musical manuscripts 
in various European libraries and museums) — what 
did they lack? Were they ahead of or behind their 

Charpentier's Medee is a work in point. Here is 
an opera two hundred and sixty years old — not too 
great a success when first performed (even two 
hundred and sixty years ago they were blaming the 
librettist!); but contemporary criticism acclaimed 
the music. To modern ears the music is, of course, 
quite simple, melodious and singularly undramatic. 
For French music it has a peculiarly Italianate flavor. 
As a pupil of Carissimi, however, Charpentier was 
well grounded in the Italian style and therefore never 
succumbed to the influence of Lully (whom he dis' 
liked intensely). Thus, in a curious reversal of 
national attitudes Charpentier, the native French 
composer, upheld in France the Italian style against 
the French style of Lully, the native Italian. 

The excerpts performed here by excellent soloists 
and a small orchestra under Nadia Boulanger are 
genuinely interesting. There are Handelian echos, 
pastoral melodies all tastefully conceived and guar' 
anteed to entertain. The soloists include such well' 
known voices as those of Paul Derenne and Doda 
Conrad as well as some newer and equally fine 
singers such as Irma Kolassi (a light contralto), 
Nadine Sautereau and Flore Wend (two fine so' 
pranos). The production sounds authentic although 
some editing has been done. 

It is unfortunate that Decca did not see fit to 
supply any texts nor make available any information 
about the condensation or the very probable arrange' 
ment of the score for modern voices and instruments. 
The disc is well recorded and notes on the composer 
and the story of the opera are included. W. 

Operatic Recital. Delia Rigal (soprano) with or' 
chestra conducted by Juan E. Martini. 1'10" disc 
(*D'DL'4060) $2.50. 

CONTENTS: Tosca — Vissi d'arte; Gioconda — 
Suicidio!; Pagliacci — Ballatella; Cavalleria Rusticana 
— Voi lo sapete; Wally — Romanza di Wally; Traviata 
— Addio del passato. 

Delia Rigal, the young Argentinian dramatic 

• Indicate* LP 8SV3 
^ indicate* 45 n>m. 


PAf* 14 


T he New Ikecords 


soprano who made her Metropolitan debut some 
few years ago as Elisabeth in Verdi’s Don Carlo, 
makes a rather unimpressive recording debut here, 
singing six well-known operatic arias. 

Miss Rigal has lots of voice, but when she pushes 
it, as she occasionally must, it develops a disconcert' 
ing wobble. This is particularly noticeable in the 
Wally and Gioconda excerpts. In addition her style, 
especially as concerns dramatic interpretation, is 
immature and consists of the gasp and gulp that 
formerly passed for emotion in opera. Diverse as 
the characters and music are, there is a singular 
monotony about the record: Nedda, Violetta and 
Santuzza all bear a startling resemblance to each 
other and to Miss Rigal. 

For anyone who has heard this music sung by 
a great singer (Muzio, for example, or Milanov, 
to mention a contemporary) the disc will have little 
charm. Bargain hunters will find the price attractive 
but the contents are on a par with the cost. As usual, 
one gets what he pays for. 

The recording is a bit on the shrill side and no 
notes of any description are furnished. W. 

Wagner: Tristan und Isolde (complete). (Sung in 
German). Kirsten Flagstad (soprano); Blanche 
Thebom (mezzo-soprano); Ludwig Suthaus, Ru- 
dolf Schock, Edgar Evans (tenors); Dietrich Fis- 
cher-Dieskau, Rhoderick Davies (baritones); Josef 
Greindl (bass); Chorus of the Royal Opera House, 
Covent Garden, and the Philharmonia Orchestra 
conducted by Wilhelm Furtwangler. 6-12" discs 
(manual sequence only) (*V- ALP- 1030/5) 

NOTE: This set arrived from England just as 
we were to go to press; it will be reviewed in the 
September issue. 


Soler: Sonatas for Harpsichord. Fernando Valenti 
(harpsichord). 1-12" disc (*WEST-WL-5196) 

CONTENTS: Sonatas No. 4 in D minor; No. 5 
in D; No. 7 in D; No. 11 in G minor; No. 9 in 
D'flat; No. 1 2 in F'sharp; No. 3 in C minor; No. 1 
in D minor; No. 2 in A minor; No. 10 in F. 

Harpsichord Music of the Spanish School of 
Domenico Scarlatti. Fernando Valenti (harpsi- 
chord). 1-12" disc (*AL-AL-45) $2.95. (TNR 
Oct. ’50). 

Assumedly a pupil of D. Scarlatti and certainly 
his most talented disciple, Soler lacks the transcendent 
artistry and ingenuity that was his mentor’s. We 
might say even that a whole LP devoted solely to 
Soler’s Sonatas would appeal only to those eminently 
concerned with Spanish music of his period; for in 
the sublimation of folk melodies for artistic ends, 
much of Soler’s work remains earth-bound in banality. 

Valenti's playing (it goes almost without saying 
at this date) is expert. 

The second item listed above (*AL-AL-45) was 
reviewed in our October 1950 issue, and is listed 
here primarily to bring to our readers’ attention 
the new, low price of Allegro discs. All five of the 
Soler Sonatas on the Allegro recording have been 
repeated on Mr. Valenti’s Westminster issue to an 
advantage, slightly musical but fundamentally repro- 
ductive, since the fidelity of the original recording 
is hardly a match for that of the newer one. C. 

Bach: (6) English Suites. Fernando Valenti (harp- 
sichord). 3-12" discs in album (*WEST-WAL- 
305) $18.50. 

This is a companion set to Valenti’s recording of 
Bach’s (6) French Suites (*WEST-WAL-310) 
which was reviewed in our April 1953 issue. It is, 
of course, a connoisseur’s item — those who were 
interested in the previous release will surely find the 
present set worthy of their attention. Valenti is un- 
questionably in the front rank of present-day harp- 
sichordists, and Westminster has supplied superb 

We might mention that, as with the previous set, 
there is included with the present recording a very 
nicely printed booklet containing the miniature scores 
of the six English Suites. 

Piano Music of Debussy. Menahem Pressler (piano). 
1-10" disc (*MGM-E-178) $3. 

CONTENTS: Estampes; Reverie ; Arabesque No. 
1; Arabesque No. 2; La Plus que Lente (Valse). 

Piano Music of Debussy. George Copeland (piano). 
1-12" disc (*MGM-E-3024) $4.85. 
CONTENTS: Clair de Lune; Minstrels; After' 
noon of a Faun; Sun\en Cathedral; Danse Sacree; 
Pour le Piano — Prelude; Feuilles M ortes; Hommage 
a Rameau ; La Boite a joujoux — Ronde (Debussy). 
Les Grands Seigneurs (Rameau). Gymnopedie No. 3 

Debussy: (6) Epigraphes Antiques. One side, and 
Ravel: Ma Mere l’Oye. Gino Gorini and Sergio 
Lorenzi (duo-pianists). 1-12" disc (*CSM-CLPS- 
1026) $5.95. 

On these three recent LP discs we have a wealth 
of Debussy keyboard music played by artists of the 
first rank. The first disc presents the young German 
pianist, Menahem Pressler, who, upon his first visit 
to the United States, won the $1,000 Debussy prize 
at the San Francisco International Music Contest in 
1946. Pressler was theif eighteen years of age. 
Since that time he has appeared with a number of 
the most important symphony orchestras in this 
country — during the 1947-48 season he appeared 
five times with the Philadelphia Orchestra. . . . 

PAGE 15 


tadleatot LP SS^ rpro. 



T he Nm R ecords 

The next disc on the list contains superb renditions 
by George Copeland, who is justly celebrated for 
his interpretations of Debussy. . . . The last disc will 
introduce to American music lovers the very distin' 
guished young Italian duo of Gino Gorini and 
Sergio Lorenzi. We were very much impressed with 
their playing and urge American music lovers to 
lend an ear to this their first record to be made 
available in this country. 


"Conquest by Love.” The Voice and Teaching of 
Mahatma Gandhi, with Albert Einstein and Jawa' 
harlal Nehru. Narration by Krishna Menon. DIO" 
disc (^HERITAGE HG'0050) $4.85. 

Gandhi’s friend and follower, Krishna Menon, 
has pieced together various recordings of the great 
Indian leader and has inserted recordings of re' 
marks by Nehru and Einstein to make this very 
unusual and inspiring recording. From the notes 
that accompany this LP disc we quote the following: 

“This is a dramatic presentation of the basic 
thoughts of Mahatma Gandhi. This is a glimpse 
into the realm of his belief. It is nothing more, and 
nothing less. For those who do not know, it will 
help to clarify. For those who believed and fob 
lowed, it will serve as a confirmation of that belief.’’ 
All of the spoken text is in English. 

Sandburg Reads Sandburg. Carl Sandburg, reading 
his own poetry. DIO" disc (*D'DL'7541) $3.85. 
CONTENTS: Grass ; Primer Lesson; Cheap Blue; 
Put the City Up; Fire Logs; Southern Pacific; 
Prayers of Steel; Over the Bridge; Upstream; Sea 
Wash; Bilbea; Father and Son; Cool Tombs; Tall 
Grass; Wilderness For You. 

The title of this recording fully describes this 
record. It is simply a series of readings by Carl 
Sandburg which he has selected from some of his 
various poems. We have listed the selections above; 
and, for those who are familiar with the welbbeloved 
poet’s voice, to listen to this disc is to have Mr. 
Sandburg in one’s very presence. 

Meditations. William Primrose (viola) and Vernon 
de Tar (organ). DIO" disc (*C'AAL'33) $2.85. 
CONTENTS: Ave Maria (Schubert'Primrose) ; 
Litany for All Souls Day (Schubert'Primrose); 
Komm susser Tod (Bach'de Tar); Herzlich thut mich 
verlangen, Op. 122 (Brahms'de Tar). 

These recordings, which were made in the Church 
of the Ascension (New York), are very likely 
intended for the quiet hour when one wishes to 
get away from the turmoil of the busy day and 
relax in an atmosphere of peace and repose. 

The World’s Encyclopaedia of Recorded 
Music . By Francis F. Clough and G. J. 
Cuming. 890 pp. Sidgwick and Jackson, 
Ltd. (London). Price $17.50. 

The 7<[ew Catalogue of Historical Records 
1 898' 1908/09. Compiled by Robert Bauer. 
494 pp. Published in England. For sale in 
U. S. A. by H. Royer Smith Co. (Philadeb 
phia). Price $7.25. 

The Gramophone Shop Encyclopedia of Re ' 
corded Music (Third Edition) . Robert H. 
Reid, Supervising Editor, 639 pp. Crown 
Publishers (New York). Price $2.95. 

The Victor Boo\ of Operas. Revised and edited 
by Louis Biancolli and Robert Bagar. 
xxiv-f- 596 pp. Illustrated. Simon and 
Schuster (New York). Price $5. 

Victor Boo\ of Concertos. By Abraham Veinus. 
xxv -f* 450 pp. Simon and Schuster (New 
York). Price $3.95. 

Collectors’ Guide to American Recordings 
1895 '1925. By Julian Morton Moses. 
Foreword by Giuseppe De Luca. 200 pp 
Published by the author. Price $3.75. 

I Hear You Calling Me. By Lily McCormack. 
201 pp. Illustrated. The Bruce Publishing 
Co. (Milwaukee). Price $2.75. 

Records: 1950 Edition. By David Hall, ix + 
524 + xx pps. Alfred A. Knopf (New 
York). Price $6. 

NOTE: All the above books have been reviewed 
in previous issues of The "Hew Records. If your local 
dealer does not stock them, orders addressed to H. 
Royer Smith Co., Philadelphia 7, Pa., will be promptly 
filled. The prices quoted include postage to any point 
within U.S.A. 

TfieflMt Jettcrsn the record number Indicate the manufacturer: AL— Allegro, BG— Bach Guild, C— Columbia, CE— Cetra, CH— Concert 
., S °r* e u ty ; CL— Capitol, CSM— Colosseum, CRS— Collector’s Record Shop. D— Decca, DL— Dial, ESO— Esoteric, FEST— Festival, 
F U 0L K— Ethnic Folkways Library, G IOA— Gregorian Institute of America, HS— Hadyn Society, L— London Gramophone. LYR — Lyrl- 
chord, ME— Mercury, OC— Oceanic, OL—L Oiseau Lyre, PE— Period, PH M — Philharmonia, PLM— Polymusic, REN— Renaissance, SOT— 
Sounds of Our Times, STR— Stradivari, UR— Urania, V— Victor, VAN— Vanguard, VX— Vox, and WEST— Westminster. 

Indicates LP 83^4, rpm. 
$ Indicates 45 rpm. 


PAGE 16 

The New "Records 


Issued Monthly by 


“The World 9 $ Record Shop 99 


VOL 21, No” SEPTEMBER, 1953 * ow>n #0 

TRANIA RECORDS, Inc., has recently 
announced a rather unique disc which 
they call a "High Fidelity Demonstration Rec' 
ord.” Unlike other “test” records which con' 
tain constant tone frequencies, thermal (white) 
noise, etc., this disc has real music on it — and 
very enjoyable music, too! 

Urania has selected portions of records 
already issued which demonstrate the best of its 
recording techniques, and has placed them all 
on one record. The contents are: Mefistofele — 
Opening (Act I) (Boito) ; Das Rheingold — Em 
trance of the Gods into Valhalla (Wagner); 
Die V/al\iire — Ride of the Valkyries (Wag' 
ner); Die G otter ddmmerung — Finale (Wag' 
ner); Three'Cornered Hat — Opening (Falla); 
Swan La\e — Spanish 6? Neapolitan Dances 
(Act III) (Tchaikovsky) ; La Gioconda — 
Dance of the Hours (Ponchielli) ; Symphonic 
Minutes — Rondo (Dohnanyi) . In addition, 
there are five bands containing the following 
constant tone frequencies: 30 cycles per second, 
50 cps, 100 cps, 1000 cps, and 10,000 cps. 
These last, however, are very short — taking less 
than one'half inch for the five bands. 

Many persons, anxious to demonstrate their 
hi'fi equipment, select bits of their favorite rec' 
ords to play for their friends; such things as 
cymbal crashes, tympani rolls, and unmuted 
strings afford a rather sensational show. Here 
Urania has done this for you; you simply place 
this High Fidelity Demonstration Record on 
your turntable and let it play all the way 

If your local dealer cannot supply this disc, 
orders addressed to the publishers of this bulk' 
tin will be promptly filled. Record Number 
*UR'URLP'7084; price, $4.17. 


We are continually receiving requests for 

back copies of The New Records. Most of 
the issues published during the last twenty 
years are available. The price is 10c each. A 
file of all of the available issues (at least 140 
copies) is $5. These prices are postpaid within 

NOTE: Those persons interested in recent 
recordings only may secure all of the issues of 
the last three years beginning September 1950 
(36 copies) at the special price of $2 (postpaid 
within U. S. A.). 


Rossini: II Barbiere di Siviglia (highlights). Giuletta 
Simionato (mezzo-soprano); Luigi Infantino 
(tenor); Giuseppe Taddei (baritone); Antonio 
Cassinelli, Carlo Badioli (bassos); EIAR Chorus 
and Orchestra — Previtali. 1-12" disc (*CE- 
A50140) $5.95. (TNR May ’51). 

Donizetti: Lucia di Lammermoor (highlights). Lina 
Pagliughi, Giuseppe Manacchini, Luciana Neroni, 
Giovanni Maliperro, Armando Giannotti, Maria 
Vinciguerra, with EIAR Chorus and Orchestra — 
Tansini. 1-12" disc (*CE-A50139) $5.95. (TNR 
Oct. '47). 

Haydn: Concerto in D for * Cello and Orchestra. 
Emanuel Feuermann (violoncello) with Symphony 
Orchestra — Sargent. One side, and Schubert: 
Sonata in A minor (“Arpeggione”). Emanuel 
Feuermann (violoncello) and Gerald Moore 
(piano). 1-12" disc (*C-ML-4677) $5.45. (TNR 
July '36 and Jan. '39). 

Beethoven: Sonata J^o. 3 in A, Op. 69. Emanuel 
Feuermann (violoncello) and Myra Hess (piano). 
One side, and Beethoven: (7) Variations in E'flat 
on “ Bei Mannern.” Emanuel Feuermann (violon- 
cello) and Theo van der Pas (piano). And Reger: 
Suite in G for ’ Cello Solo. Emanuel Feuermann 
(violoncello). 1-12" disc^ (*C-ML-4678) $5.45. 
(TNR Jan. '38 and Jan. '40). 

Romberg: The Desert Song (excerpts). Nelson Eddy 
with supporting cast, chorus and Orchestra — 
Engel. 1-10" disc (*C-AAL-37) $2.85. (TNR 
July '53). 


T he Nm Records 



Orchestral Favorites by Strauss and Offenbach. 

Strauss Orchestra conducted by Franz Lanner. 
1*12" disc (*MGM*E*3032) $4.85. 

CONTENTS: Blue Danube Waltz, Tales from 
the Vienna Woods, Voices of Spring, Emperor 
Waltz, Die Fledermaus — Overture (Strauss); Or' 
pheus in the Underworld — Overture; Tales of Hoff' 
man — Barcarolle (Offenbach). 

French Orchestral Music. L’Orchestre de la Suisse 
Romande conducted by Ernest Ansermet. IT 2" 
disc (*L*LL*696) $5.95. 

CONTENTS: Danse Macabre, Op. 40 (Saint* 
Saens); Le Rouet d’Omphale, Op. 31 (Saint*Saens); 
Marche Joyeuse (Chabrier); Pavane pour une infante 
defunte (Ravel); Espana (Chabrier). 

Rimsky-Korsakov: Russian Easter Overture. And 
Rimsky-Korsakov: Capriccio Espagnole, Op. 34. 
One side, and Moussorgsky: Night on Bald 
Mountain. And Borodin: In the Steppes of Cen- 
tral Asia. Paris Conservatory Orchestra conducted 
by Andre Cluytens. 1*12" disc (*VX*PL*7670) 

Liszt: Hungarian Rhapsody No. 2. And Enesco 
Roumanian Rhapsody No. 2. And Dvorak: 
Slavonic Dance No. 1 . One side, and Berlioz: 
Rakoczy March. London Philharmonic Orchestra 
conducted by Jean Martinon. And Ponchielli: 
La Gioconda — Dance of the Hours. Royal Opera 
House Orchestra conducted by Warwick Braith* 
waite. And Saint-Saens: Danse Macabre. London 
Symphony Orchestra conducted by George Wei* 
don. 1*12" disc (*MGM*E*3037) $4.85. 


Schubert: Symphony No. 9 in C (“Great"). Sym* 
phony Orchestra of Radio Berlin conducted by 
Arthur Rother. 1*12" disc (*URTJRRS*7*1) 

Dvorak: Symphony No. 5 in E minor. Op. 95 

(“From the New World"). Symphony Orchestra 
of Radio Leipzig conducted by Gerhard Pfluger. 
1*12" disc (*UR*URRS*7*3) $3.50. 

Borodin: Symphony No. 2 in B minor. Symphony 
Orchestra of Radio Leipzig conducted by Gerhard 
Pfluger. One side, and Borodin: Prince Igor — 
Polovtsian Dances. Chorus and Orchestra of Radio 
Berlin conducted by Karl Rucht. 1*12" disc (*UR' 
URRS*7*4) $3.50. 

For peace of mind and clarity of thinking, we 
listened to this batch in just the reverse order in 
which they are listed in the heading above, so we 
will discuss them in that order. The Borodin disc 
ic a fine one, at any price; and, since these three 
records are in Urania's low*priced “request" series, 
they must be considered a good value if they are 

good performances. These German radio orchestras 
seem to be a competent lot. The Radio Berlin chorus 
and orchestra give a telling account of the Polovtsian 
Dances which Urania would be hard pressed to beat 
on their regular*priced series. Without quite the 
individual touches of Stokowski, this performance is 
as good as any we have heard on LP. The reproduc* 
tion is excellent with the chorus recorded in fine 
proportion to the orchestra — good balance and clarity. 
The Borodin Second, now in its sixth LP recording, 
is given a lucid reading, with plenty of bite and 
precision. The only other recording offering com* 
petition would be Dorati and the Minneapolis (*ME* 
MG* 50004). The excellence of the Berlin chorus 
will make this the preferred record of the Polovtsian 
Dances, and is in itself worth the price of the disc. 

Gerhard Pfluger’s reading of the “New World" 
Symphony can hold its own with the dozen*odd other 
LP's, in a performance of surprising virtues. This 
is no run*of*the*mill job by second*raters on a cheap 
LP series. It is, in fact, a beautiful effort, aided by 
some lovely orchestral playing and fine reproduction. 
There are a number of good LP’s of this work, 
Ormandy and Kubelik having been our favorites for 
some time. For those who do not yet own a copy 
of the Dvorak Fifth, this disc is well worth consid* 
eration; it has our respect and admiration. The clarity 
and brilliance of reproduction, with a goodly amount 
of hall resonance thrown in, could easily make it 
the preference for many. 

With the “Great C Major" of Schubert we get 
into deeper water, and the camps are sharply divided 
as to whose reading does justice to this work among 
the dozen LP’s now available. We recently admired 
the Furtwangler performance (*D*DX*119) although 
it required three LP sides. Toscanini and von Kara* 
jan have many proponents for the excellence of their 
renditions. We have liked the older Bruno Walter 
disc, an opinion which is not too popular. Arthur 
Rother has no annoying mannerisms or individuali* 
ties; he adheres closely to tradition and his orchestra 
is well routined in the requisite style. This reading 
may not be the most earth*shaking of them all, but 
it is one of solid merit and commands our respect. 
To have such a good reading, with modern repro* 
duction, on a modestly priced disc is worth com* 
mendation. S. 

Pfitzner: Symphony in C-sharp minor. German 

Opera House Orchestra conducted by Hans 

Schmidt'Isserstedt. 1*12" disc (*UR*URLP*70 56) 


This work has a curious appeal about it that we 
had hardly expected. It is a type of music that will 
be enjoyed by many lovers of symphonic music, 
although a fair percentage will not go for it. If you 
are seeking some new symphonies, not too modern, 
but with some originality, you will do well to try 
this one. The symphony originates from a string 
quartet, Pfitzner’s second (1925), which was changed 

* Indicate# LP 88*4 rpm. 
^ Indicate# 46 rpm. 




The Ntfte; R ecords 

into the orchestral version in 1932. The quartet 
shows the strong influence of the late Beethoven 
quartets; it is a daring work but always rooted in 
the romantic. The themes of the four movements 
are developed from each other; the form follows 
tradition but is handled by Pfiuner in an original 
manner. The structure and development are exactly 
as in the original quartet. The intensity of sound 
is remarkable and it is interesting to note how the 
composer, despite his animosity toward modern music, 
created just that with this symphony. 

Pfitzner, born in Moscow in 1869 of German 
parentage, made his mark in music largely as a 
conductor throughout Germany, and died in 1949. 
He did much composing, and is known for his lieder, 
choral and symphonic works, chamber music, and 
concertos for violin, 'cello, and piano. His Kleine 
Sinfonie, Op. 44 and Symphony in C, Op. 46 are 
already on LP, as well as several shorter works. Ah 
though his first two operas were inspired by Wagner, 
his famous music drama Palestrina showed his orig' 
inal style and in his oratorio Von deutscher Seele 
he returned to romantic symbolism. As an admirer 
of Wagner and Schumann he was against all the 
modern musical tendencies. It is interesting to note 
just how much of a modern tinge some of the 
present symphony does have, which may prove 
Pfitzner to be more of an original mind than is 
often thought. The performance has a fine intensity 
and conviction and is brilliantly recorded. S. 

Delius Program. London Symphony Orchestra con' 
ducted by Anthony Collins. M2" disc (*L'LL' 
758) $5.95. 

CONTENTS: Brigg Fair; On Hearing the First 
Cuc\oo in Spring; The Wal\ to the Paradise Garden; 
A Song of Summer. 

Walton: Orb and Sceptre (Coronation March for 
Full Orchestra). And Bax: Coronation March 
1953. One side, and Elgar: Pomp and Circum- 
stance March in D, Op. 39, No. 1 . And Elgar: 
Imperial March, Op. 32. And Elgar: Pomp and 
Circumstance March in G, Op. 39, No. 4. 
London Symphony Orchestra conducted by Sir 
Malcolm Sargent. M2" disc (*L'LL'804) $5.95. 
London has released a number of important albums 
in their “Special Commemorative Coronation Re' 
lease;” one that will gladden the hearts of many 
is the Delius Program, for many of us have been 
waiting for more Delius on LP. Naturally, we have 
been waiting for Delius recorded by Beecham, than 
which there are no better Delius performances; 
however, we have it here by Anthony Collins. 
Collins is a fine conductor who has made some 
excellent sets for London including a much respected 
Sibelius First Symphony, and we recall some splendid 
CBS broadcast concerts of his a few years ago. 
His orchestra usually plays with a rich and meaty 
tone, whether soft or loud; his musicianship is 
good, yet imaginative. It will come as no surprise 

that his Delius is not like Sir Thomas', but that is 
not to say it is not good. While Sir Thomas has 
the epitome of subtlety and nuance, Collins does 
not lack in atmosphere even if it is a bit less rarefied. 
The London Symphony under Collins delivers some 
luscious sounds and London has captured it with 
some of their finest reproduction. On Hearing the 
First Cuc\oo in Spring is the only work currently 
on LP; A Song of Summer is receiving its first 
recording anywhere. These four numbers provide 
a generous and choice assortment of shorter Delius 
works, and we recommend this disc for those who 
enjoy the sensuous beauty of this man's music. 

We would not want the task of composing a 
coronation march in the light of Elgar's fabulous 
efforts in this medium. To play Walton's trashy 
Orb and Sceptre after Elgar's magnificent Pomp and 
Circumstance 7<[o. 1 reduces the march to a travesty; 
to play Elgar after Walton is to bring the march 
back to the regal majesty inherent in it. Walton's 
effort compares favorably with one of Eric Coates' 
gifted exercises, such as Knightsbridge. Bax fares 
better in his march; it is, in fact, a pretty good job, 
but Elgar runs away with the honors on this disc. 
Malcolm Sargent performs this music, especially the 
Elgar numbers, in a manner that we doubt could be 
duplicated — it is absolutely magnificent! London has 
supplied reproduction second to none. This is a 
thrilling disc in many respects. S. 

Schubert: Symphony No. 4 in C minor (“Tragic”). 

Concertgebouw Orchestra of Amsterdam conducted 

by Eduard van Beinum. M2" disc (*L'LL'736) 


Tchaikovsky: Symphony No. 4 in F minor, Op. 36. 

RIAS Symphony Orchestra conducted by Ferenc 

Fricsay. M2" disc (*D'DL'9680) $5.85. 

Schubert composed his Fourth Symphony in 1816 
when he was only nineteen years old. Some fifty 
years later Tchaikovsky completed his Fourth Sym * 
phony at the age of 37, about twice Schubert’s age 
when he wrote his Fourth. Schubert was to write 
much finer symphonies, but Tchaikovsky really hit 
his stride with his Fourth. Schubert added the title 
“Tragic” for a later performance of the work; but 
the idea was not a good one. Tragedy had not made 
much of an impact on this lad in his teens and there 
is very little about the work which is tragic. Van 
Beinum has a heavier hand with this music than 
either Klemperer (*VX'PL'7860) or Freilassing 
(*ORFEO'10), each of whose readings we have 
reviewed and found to be rather vigorous. You will 
find this more relaxed and sweeter Schubert playing, 
for van Beinum is painting a picture of more sombre 
hues than the other conductors. The reproduction 
London has accorded him r is also mellower than 
that found in either the Klemperer or Freilassing sets. 
All things considered, we would be inclined to take 
this disc by van Beinum. All LP's of this symphony 
occupy two sides of a 12" disc except Klemperer's; 

• Indicate! LP 8 Sy$ rpm. 
0 indicate* 45 ipa. 





1 he R ccords 

Vox squeezed that on one side, coupling it with 
the Mendelssohn “Italian” Symphony, which makes 
that one a good second choice for the value received. 

Tchaikovsky’s Fourth is now available in several 
excellent versions. Until now our preference has 
been for the Ormandy disc, but there are several 
with better, more modern reproduction. The present 
disc by Fricsay and the RIAS Orchestra of Berlin 
(Radio in the American Sector, in case you are 
puzzled by RIAS) is indeed a good one. Fricsay has 
a few original ideas but in general offers a fine 
reading with plenty of excitement; it is well played 
by the orchestra. Going back over some other 
“Fourths” we found the Kubelik (*ME'MG'50003) 
worth while, on the slow side but powerful and, of 
course, well recorded. Kubelik is inclined to fuss 
with the music more; Fricsay is more straight' 
forward. These are worth comparing, as they are 
the best in quality of reproduction, although quite 
different in performance. Other versions lack one 
thing or another, so we recommend Fricsay or 
Kubelik for this work; if you can't compare them, 
take Fricsay. 

Brahms: Symphony No. 1 in C minor. Vienna 
State Orchestra conducted by Hermann Scherchen. 
M2" disc (*WEST'WL'5189) $5.95. 

From the very opening chord of this recording 
everything struck us as being wrong and annoying 
about it. Comparing it carefully with the Ormandy 
(*C'ML'4477), Toscanini (*V'LMT702) and Ku' 
belik (*ME'MG' 50007) readings confirmed our 
dislike of Scherchen’s treatment. Even leaving Seller* 
chen out of it, we still do not like the sound that 
meets the ear. This is easily the loudest orchestral 
record we ever heard; there is no toning it down. 
The sound is so metallic and wiry that no tone 
controlling can sweeten it. It is very clear and well 
balanced, but even the clarity militates against this 
set, for the Vienna State Opera Orchestra is no 
paragon of precision. It is just a grating and annoy' 
ing sound from beginning to end. 

Scherchen has ideas about the Brahms First which 
are often similar to Toscanini’s; but where Toscanini 
has the skill to fashion these ideas into a smooth and 
convincing performance, Scherchen is all ends and 
disjointed phrases. As we said in the February 
1953 issue, we recommend Ormandy (*C'ML'4477) 
as the one most persons will enjoy. Others well 
worth consideration are Kubelik, Toscanini, Leins' 
dorf, Stokowski, Keilberth and Rodzinski — in about 
that order. S. 

Ravel: Bolero. One side, and Rimsky-Korsakov : 
Capriccio Espagnol. Detroit Symphony Orchestra 
conducted by Paul Paray. IT 2" disc (*ME'MG' 
50020) $5.95. 

In past years Paul Paray has been reluctant to 
place his talents on records, contending that too 
much of the true orchestral impact was lost in 
phonograph reproduction to consider the recorded 

sound an acceptable facsimile of the original. With 
the advent, however, of “high'fidelity,” Mr. Paray 
has accordingly altered his stand and is now to be 
heard on Mercury’s Olympian Series, whose re' 
markable fidelity could hardly better suit his purposes. 

In 1951, the seventy year old conductor became 
head of the then long waning Detroit Orchestra, 
raising that group to a standard of merit on which 
it had not functioned for many years. Mr. Paray s 
associations with the Detroit Orchestra and Mer' 
cury Records are two of the happiest combinations 
of talents, we think, to have occurred during the 
short history of LP records; for as anyone can glean 
from hearing his current release, his almost unique 
mastery of orchestral masses, his capability to dis' 
cipline the forces of a large orchestra into a tightly 
formalized and sensibly pleasing pattern place him 
immediately beside such classical conductors as 
Toscanini. The French master’s reading of Bolero, 
a work which probably has more aesthetic merit 
than most musicologists admit, is compelling in its 
perfection. His execution of the Capriccio Espagnol 
radiates with Rimsky’s vivid colorations through 
exacting conductorial demands; so that this first of 
Paray’s projected releases creates as much an anticipa' 
tion to enjoy those to follow as it does satisfaction 
with itself. C. 

Glazounov: Symphony No. 7 in F, Op. 77. 

Symphony Orchestra of Radio Berlin conducted 
by Felix Lederer. One and one'half sides, and 
Miaskovsky: Lyric Concertino in F, Op. 77. 
Symphony Orchestra of Radio Berlin conducted 
by Adolf Fritz Guhl. M2" disc (*URTJRLP' 
7088) $5.95. 

These works appear for the first time in the LP 
lists. Glazounov’s Seventh Symphony is a facile 
work which makes no demands on the listener. It 
sounds, in a general way, like dozens of other works 
without being directly reminiscent of anything in 
particular. It is a nice pleasant symphony which 
anyone can enjoy on first hearing. Lederer and the 
Radio Berlin Orchestra play the music with a proper 
feeling and give it a good profile. It is so clearly 
Russian — of the Glazounov period — that one could 
hardly miss. The four movements are conventional, 
with a lovely third movement Scherzo, deftly orches' 
trated and reflecting Rimsky'Korsakov’s influence. 
The finale reassembles most of the music from the 
preceding movements within the framework of a 
vigorous and nationalistic approach. It must be en' 
joyable, for it seems to move along quickly, always 
a good sign; however, it lacks, to us, any distinguish' 
ing features, except that it is not irritating. 

Miaskovsky is one of the most prolific of living 
composers. He is in an enviable position among 
Soviet composers, having followed the line of least 
resistance by providing the government with patriotic' 
sounding titles to many of his works. The Symphony 
No. 12 is subtitled “Collective Farm.” Some of his 

• indicates LP 8 sy 3 rpm. 
0 Indicates 45 rpm. 




T he Records 1953 

choral pieces are entitled: “Kirov Is With Us," 
“Song of the Border Guards," “Glory to Our 
Soviet Pilots," and “Lenin." He has also written 
a “Stalingrad Symphony." He holds several official 
positions in music in Russia. For the most part, 
Miaskovsky is a composer of absolute music, and 
we hope that the phony titles mentioned above have 
completely fooled the powers over there. 

The present work is an innocuous invention which 
was conceived in 1926'7, while the composer was 
busy at work on his Tenth Symphony. It is lighter 
in texture and substance than most of his music and 
is said to reflect a Gallic approach to chamber or' 
chestra writing, being scored for five instruments 
and strings. It is well played and recorded here 
and provides a good fillip for the remainder of side 
two of this disc. S. 

Albeniz — arr. Arbos: Iberia. L’Orchestre de l’Asso' 
ciation des Concerts Colonne conducted by George 
Sebastian. M2" disc (*UR'URLP'7085) $5.95. 
Iberia, consisting of twelve pieces for piano which 
Albeniz wrote towards the end of his life, is gen' 
erally considered his masterpiece and the summa' 
tion of his art. Unlike many transcriptions, Arbos’ 
orchestration of the work is a highly successful one. 
Much, of course, of the original rhythmic and 
harmonic intensity is lost; but in its place is ob' 
tained the orchestral variety which, of necessity, 
the original lacked, and which, judging from the 
success of the orchestral version, it partially de' 
manded. The more incisive and dramatic mood of 
the piano reading gives way, in this recording, to 
a diffuse, somewhat impressionistic sound that in 
its own way is as significant musically as the former. 

George Sebastian’s conducting presents nothing 
ior negative criticism. Reproduction, as is the case 
with all current Urania LP’s, is extremely realistic. 


Bach: Brandenburg Concerto No. 2 in F. One 
side, and Bach: Brandenburg Concerto No. 4 in 

G. London Baroque Ensemble conducted by Karl 
Haas. M2" disc (*WEST'WL'51 13) $5.95. 
Bach: Brandenburg Concerto No. 1 in G. One 
side, and Bach: Brandenburg Concerto No. 6 in 
B. London Baroque Ensemble conducted by Karl 
Haas. M2" disc (*WEST'WL'5172) $5.95. 
Bach: Brandenburg Concerto No. 5 in D. One 
side, and Bach: Brandenburg Concerto No. 3 in 
G. London Baroque Ensemble conducted by Karl 
Haas. M2" disc (*WEST'WL'5174) $5.95. 

For as pure an example of the sound of a baroque 
ensemble to be had on records, these versions of the 
Brandenburg Concerti must be recognized as being 
nonpareil. The use of recorders instead of flutes in 
the second and fourth concerti (as per the original 
edition) adds exquisitely to the already warm and 
animate sound of the London Baroque Ensemble, 
which partakes of neither the characteristics of a 

modern small orchestra nor a modern large chamber 
group; but rather, as was Bach's intention, it con' 
sists of a heterogeneous variety of sounds, ever fresh 
in stimulating combinations, now in solo, now in 

Beyond, however, the unique sounds of these 
records, there are minor defects. The tempi are 
generally too slow, the playing somewhat inaccurate 
and spiritless. These blemishes are never grossly 
existent nor unduly detractive; so that Karl Haas’ 
versions of the works, we should say, surpass all 
other versions excepting Karl Munchinger’s (*L'LL' 
222, *L'LS'226, *L'LL'144), which we consider to 
be easily the best. C. 

Coates: The Three Elizabeths Suite. One side, and 
Coates: Four Centuries Suite. New Symphony 
Orchestra conducted by Eric Coates. M2* disc 
(*L'LL'753) $5.95. 

Walton: Fagade (Suites I and II). One side, and 
Lambert: Horoscope (Ballet Suite). London Sym' 
phony Orchestra conducted by Robert Irving. 
M2" disc (*L'LL'771) $5.95. 

This pair of discs contains music by three of 
Britain’s most prominent present'day composers: Eric 
Coates, William Walton and Constant Lambert. The 
first disc contains the now quite welbknown The 
Three Elizabeths Suite, written to honor Elizabeth 
Tudor, The Queen Mother, and the present Queen 
Elizabeth. This work is in Coates’ usual pleasing 
vein — not too profound. The Four Centuries Suite 
is in four movements and is based on dance music 
of the 17th, 18th, 19th and 20th centuries. It starts 
out with a 17th century hornpipe and ends with a 
modern dance tune full of rhythms of the present 
day. It’s quite a piece! The second disc contains two 
ballet suites, both of which ballets have been per' 
formed at the Sadler's Wells Theatre. 

If you would like to listen to some popular music 
of the better class that appeals to our English 
cousins, here is your opportunity. All of it has been 
recorded by fine orchestras and has been most faith' 
fully reproduced on these LP discs. 

Respighi: Gli Uccelli. One side, and Respighi: 
Antiche Danze ed Arie per Liuto — Suite No. 2. 
Vienna State Opera Orchestra conducted by Franz 
Litschauer. M2" disc (*VAN'VRS'433) $5.95. 
Litschauer’s recording of Respighi's Gli Uccelli 
(The Birds) is far superior to the earlier recording of 
this work on LP by the EIAR Symphony. In fact 
we feel that it is a top'notch performance, and we 
are very sure that those interested in this popular 
Respighi opus will be highly pleased with it. The 
same composer’s second sufte of Ancient Airs and 
Dances for the Lute is an appropriate coupling. 
Litschauer also presents this work in an attractive 
and highly artistic manner. The reproduction 
throughout is excellent. 



Indicates LP rpra. 
0 indicates 45 rpm. 


The New R ecords 1953 

Glazounov: Raymonds, Op. 57 — Ballet Suite. Paris 
Philharmonic Orchestra conducted by Manuel 
Rosenthal. 1-12" disc (*CL-P-8184) $5.70. 
Scarlatti — arr. Tommasini: The Good Humoured 
Ladies — Ballet Suite. One side, and Mozart: Les 
Petits Riens — Ballet-Pantomime. Royal Opera 
House Orchestra, Covent Garden, conducted by 
Warwick Braith waite. 1-1 2" disc (*MGM-E- 
3034) $4.85. 

Rossini: Guglielmo Tell — Overture and Ballet Music. 
One side, and Rossini: Matinees Musicales. And 
Rossini — arr. Britten: Soirees Musicales. Royal 
Opera House Orchestra, Covent Garden, con* 
ducted by Warwick Braith waite. 1-12" disc 
(*MGM-E-3028) $4.85. 

Tchaikovsky: The Slippers — Suite. One side, and 
Tchaikovsky: Suite No. 4 in G, Op. 61 (“Mo- 
zartiana”). Philharmonia Orchestra conducted by 
Anatole Fistoulari. 1-12" disc (*MGM-E-3026) 

Schubert — arr. Fekete: Snow White Ballet Suite. 

Salzburg Mozarteum Orchestra conducted by 
Zoltan Fekete. One side, and Fekete: Caucasus 
Ballet Suite. Vienna State Opera Orchestra con- 
ducted by Zoltan Fekete. 1-12" disc (*CSM- 
CLPS-1011) $5.95. 

Ravel: Daphnis et Chloe Ballet (complete). Motet 
Choir of Geneva directed by Jacques Horneffer 
and l’Orchestre de la Suisse Romande conducted 
by Ernest Ansermet. 1-12" disc (*L-LL-693) 

Lalo: Namouna Ballet — Suite No. 1. One side, and 
Lalo: Namouna Ballet — Suite No. 2. And Bizet: 
L’Arlesienne Suite No. 2 — Intermezzo. L’Orches- 
tre de la Societe des Concerts du Conservatoire 
de Paris conducted by George Sebastian. 1-12" 
disc ( *UR-URLP-7068) $5.95. 

Nights at the Ballet. Royal Opera House Orchestra, 
Covent Garden, conducted by Warwick Braith- 
waite. 1-12" disc (*MGM-E-3006) $4.85. 
CONTENTS: Coppelia — Swanhilda’s Waltz and 
Czardas (Delibes); Les Sylphides — Prelude and 
Grande valse brilliante (Chopin); Swan La\e — (2) 
Scenes and Dance of the Little Swans (Tchaikov- 
sky); Carnaval — Preambule, Reconnaisance, Panta- 
lon and Columbine (Schumann); Sylvia — Les Chas- 
seresses and Pizzicati (Delibes); Fiutcr ac\er — Waltz 
of the Flowers (Tchaikovsky); Boutique Fantasque 
— Tarantella, Scene, Can Can (Rossini); Vespri 
Siciliana — L’ Autunno ( V erdi ) . 

Popular Ballet Music from Great Operas. Royal 
Opera House Orchestra, Covent Garden, con- 
ducted by Warwick Braithwaite. 1-12" disc 
(*MGM-E-3003) $4.85. 

CONTENTS: Faust — Ballet Music (complete) 
(Gounod); La Gioconda — Dance of the Hours 
(Ponchielli) ; Aida— Ballet (Act II) (Verdi); La\me 

— Airs de danse (Act II) (Delibes); Carmen — 
Gypsy Dance and Farandole (Bizet); Guiglielmo 
Tell — Dances (Acts II and IV) (Rossini). 

We regret that we only have space to simply list 
these records of ballet music that have arrived at 
the studio during the last couple of months. We 
have, however, carefully listened to each of them 
and we can report that both the performance and 
the reproduction of each are well up to par. 

Massenet: Le Cid — Ballet Music (Act II). And 
Massenet: Le Cid — Moorish Rhapsody (Act III). 
One side, and Massenet: Scenes Alsaciennes (Or- 
chestral Suite No. 7). Royal Opera House Or- 
chestra (Covent Garden) conducted by Warwick 
Braithwaite. 1-12" disc (*MGM-E-3016) $4.85. 
Massenet: Le Cid — Ballet Music (Act II). One side, 
and Rimsky-Korsakov: The Tale of the Czar 
Saltan Suite, Op. 57. Netherlands Philharmonic 
Orchestra conducted by Henk Spruit. 1-12" disc 
(*CH-CHS-1155) $5.95. 

Rimsky-Korsakov: The Tale of the Czar Saltan 
Suite, Op. 57. Symphony Orchestra of Radio 
Berlin conducted by Otto Dobrindt. One side, and 
Gliere: The Red Poppy (Ballet Suite). Symphony 
Orchestra of Radio Berlin conducted by Hans 
Gahlenbeck. 1-12" disc (*UR-URLP-7078) $5.95. 
The three LP discs listed above contain much 
brilliant and gay music played with fine spirit by 
three foreign orchestras of note. We were particular- 
ly impressed with Concert Hall’s recording of the 
Netherlands Philharmonic Orchestra under the direc- 
tion of Henk Spruit. 

Music of Cole Porter. Andre Kostelanetz and his 
Orchestra. 1-12" disc (*C-ML-4682) $5.45. 
CONTENTS: Begin the Beguine; All through the 
"Flight; I Concentrate on You; I Love You; Flight 
and Day ; In the Still of the Flight; I’ve Got You 
Under My S\in; Blow, Gabriel, Blow. 

The general musical public never seems to get 
enough of Kostelanetz recordings. Nearly every 
record that this unique musician has made has been 
a good seller and continues to sell for years after 
its issue. There is a reason for this. Kostelanetz 
selects popular tunes that have that something about 
them that makes them live on and on, and he presents 
them in fascinating arrangements that catch and hold 
the popular fancy. Add to this the fact that Kos- 
telanetz selects the best of players for his orchestra 
and diligently rehearses them until he secures the 
results that he requires, and you have the secret as 
to why his recordings enjoy such tremendous sales. 

Bloch: Concerto Grosso for String Orchestra and 
Piano. One side, and Schuman: Symphony for 
Strings. Pittsburgh Symphony Orchestra conducted 
by William Steinberg. 1-12" disc (*CL-S-8212) 

A product of the first Pittsburgh International 

• indicate! LP 883^ rpm. 
0 Indicates 45 rpm. 




The New R ecords 


Contemporary Music Festival, November 1952, these 
performances sound very much like the community 
project they apparently were, more the product of 
civic pride than artistic merit. One must even ques' 
tion the internationality of Schumanns Symphony 
which sounds substantially more morbidly romantic 
here than in the superior Schenkman reading (*CH' 
CHS' 1078). The Bloch Concerto gets rougher, less 
satisfactory treatment in the hands of Steinberg than 
in those of Kubelik (*ME'MG'50001). And if 
anyone is searching for important 20th Century 
music to record, he might turn to Bartok’s Cantata 
Prof ana or Stravinsky’s Les T^oces before pointlessly 
duplicating minor works. 

Music by Raff and Mendelssohn. Westminster Light 
Orchestra conducted by Leslie Bridgewater. LI 2" 
disc ( * WEST'WL'4005 ) $4.95. 

CONTENTS: Scherzino, Cavatina, The Mill, 
Aria, Scherzo (Raff); On Wings of Song, Octet — 
Scherzo, Little Suite (from the “Songs without 
Words”) (Mendelssohn). 

Music by Schubert. Westminster Light Orchestra 
conducted by Leslie Bridgewater. LI 2" disc 
(*WEST'WL'4006) $4.95. 

CONTENTS: Valse Caprice, Rosamunde — Entr’' 
acte and Ballet Music, ( 2) Galops, Marche Militaire, 
Rondo (from “Sonata No. 11 in D, Op. 53”), Ave 
Maria, Marche Caracteristique. 

Leslie Bridgewater has taken some of the better 
known music of Raff, Mendelssohn and Schubert 
and with the best of taste presents it in a quiet and 
highly pleasing manner. It makes excellent back' 
ground music especially suitable for the dinner hour. 
These recordings, which were made in the famous 
Konzerthaus, Vienna, are examples of the best of 
modern reproduction. 

Strauss: Wiener Blut, Op. 354 (“Vienna Blood”). 
And Strauss: Wein, Weib und Gesang, Op. 333 
(“Wine, Women and Song”). One side, and 
Strauss: G’schichten aus dem Wiener Wald, Op. 
325 (“Tales from the Vienna Woods”). And 
Strauss: Kaiser, Op. 437 (“Emperor Waltz”). 
Minneapolis Symphony Orchestra conducted by 
Antal Dorati. LI 2" disc (*ME'MG'50019) 

Strauss Overtures, Polkas and Marches. Philadeb 
phia Orchestra “Pops” conducted by Eugene 
Ormandy. LI 2" disc (*C'ML'4686) $5.45. 
CONTENTS: Tritsch'Tratsch Pol\a, Explosions 
Pol\a, Egyptian March, Die Fledermaus — Overture, 
Thunder and Lightning Pol\a, Die Fledermaus — 
Polka, Queen s Lace Handkerchief — Overture, 
Annen Pol\a, W aldmeister — Overture (J. Strauss, 
Jr.); Radetz\y March (J. Strauss, Sr.); Pizzicato 
Pol\a (J. Strauss, Jr. and Josef Strauss). 

Lovers of Strauss melodies will surely welcome 
these excellent recordings by two fine orchestras led 

by men who, among their many other accomplish' 
ments, are in the groove with such lively and melodi' 
ous music. The best of reproduction prevails on 
both records. 

Semprini: Mediterranean Concerto. One side, and 
Docker: Legend. And King: Theme from "Run- 
nymede Rhapsody.” Rochester “Pops” Orchestra 
conducted by Morton Gould (piano). L10" disc 
(*C'AAL'36) $2.85. 

Morton Gould directs the Rochester “Pops” from 
his seat at the piano in three selections that should 
prove popular with audiences at summer “pops” 
concerts. Semprini’s Mediterranean Concerto has 
been quite the rage in England for some time but 
hasn’t caught on over here to any extent. 

Bizet: L’Arlesienne Suites Nos. 1 and 2. Bamberg 
Symphony Orchestra conducted by Ferdinand 
Leitner. L10" disc (*D'DL'7538) $3.85. 

We see no particular need for additional record' 
ings of these Bizet selections; there are several excel' 
lent versions already available. However, Decca has 
recently released the present LP disc and we feel 
that our readers should know of it. 

Haydn: Symphony No. 44 in E minor (“Trauer' 
symphonie”). One side, and Haydn: Symphony 
No. 49 in F minor (“La Passione”). Orchestra 
of the Vienna State Opera conducted by Hermann 
Scherchen. L12" disc (*WEST'WL'5206) $5.95. 
If you are interested in these Haydn symphonies, 
we can assure you that the present versions by 
Scherchen and the Vienna State Opera are the best 
available. Most faithful reproduction is an added 

Kabalevsky: The Comedians, Op. 26. Symphony 
Orchestra of Radio Berlin conducted by Arthur 
Rother. One'half side, and Prokofiev: A Summer 
Day — Suite. Symphony Orchestra of Radio Berlin 
conducted by Adolf Fritz Guhl. One side, and 
Dvorak: The Watersprite, Op. 107. Symphony 
Orchestra of Radio Berlin conducted by Gerhard 
Wiesenhutter. L12" disc (*UR'URLP'7082) 

A new recording of The Comedians and first 
recordings on LP of The Watersprite and A Sum' 
mer Day have been coupled by the redoubtable 
gentleman who decides what disassociated works 
may share the same record and whose frequently 
strange and disconcerting decisions are, no doubt, 
the product of a finer intellect than is had by us 
who only listen to the records. He has not, however, 
we should say, in this instance done too poor a job. 

The performance of The Comedians to be had 
here is a welbrnannered one r without quite the raucous 
intentions of some of its fellows. The Summer Day 
Suite, containing seven orchestrated sections from 
the original twelve'section piano work Musique 
d’enfants, has much of the delightfulness but not 



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The NW Records 


quite so much of the melodic quality of Peter and 
the Wolf. And the Water sprite, one of three sym' 
phonic poems which Dvorak wrote on returning from 
the .United States and which is a musical account 
of some of the actions of a “sprite” or evil spirit, 
contains, from a technical standpoint, an extremely 
fine example of his craft. 

All three compositions are well played and share 
the advantage of fine reproduction, even as they 
share the same disc. C. 

Beethoven: Concerto No. 5 in E-flat, Op. 73 

(“Emperor”). Elly Ney (piano) with the Vienna 
Philharmonic Orchestra conducted by Karl Bohm. 
M2" disc (*UR'URRS'7'10) $3.50. 
Tchaikovsky: Concerto No. 1 in B-flat minor, Op. 
23. Alex de Vries (piano) with the Symphony 
Orchestra of Radio Berlin conducted by Arthur 
Rother. M2" disc (*UR'URRS'7'2) $3.50. 

The Schwann catalog now lists over a dozen LP’s 
of each of these two popular concertos. Neither of 
these recordings would cause us to change any pref' 
erences we have stated in recent months in these 
columns concerning a choice among the existing 
versions. That is not to say that these two are not 
quite good. Considering the price asked for them, 
they are a good value, featuring modern recording 
and good orchestral support. The “Emperor” has 
not the sinewy strength and, in spots, the digital 
dexterity that can be found in numerous other disc 
versions. The finale, in particular, is somewhat in* 
secure in places, and even Karl Bohm and the well' 
disciplined Vienna Philharmonic cannot get in a 
solid groove with the soloist occasionally. Disregard' 
ing price, Horowitz, Serkin, and Curzon have record' 
ings of greater merit. Considering price, some may 
prefer Denis Matthews (*C'RL'3037). 

While Elly Ney is a familiar name on records, 
Alex de Vries is a name we cannot recall at the 
moment. This pianist has a serious approach to the 
well'worn Tchaikovsky concerto which results in a 
reading of large proportions, although an ability to 
sustain this large conception that barely, at times, 
meets the requirements. It takes HorowitZ'type 
fingers of steel to put this type of performance over; 
if you are not too aware of minute technical matters, 
you will find de Vries not only adequate, but thrill' 
ing. Arthur Rother and the Radio Berlin Orchestra 
provide a magnificent accompaniment in close rap' 
port with the soloist. The ending they put on the 
first movement is a mighty effort which comes off 
beautifully. De Vries does not, fortunately become 
too slow and slushy in the middle movement, offering 
a clear, but poetic reading. The last movement is 
spread out, contains climax upon climax, with tempo 
changes and many points of expansion and ritard. 
It comes off surprisingly well. The second and third 

movements fare better than the first. Those who 
want a straighter and brisker performance will find 
others in the LP lists; this one will appeal to many 
fanciers of the work. S. 

Chopin: Concerto No. 1 in E minor, Op. 11. 

Gyorgy Sandor (piano) with the Philadelphia 
Orchestra conducted by Eugene Ormandy. M2" 
disc (*C'ML'4651) $5.45. 

Chopin: Concerto No. 1 in E minor, Op. 11. 

Mieczyslaw Horszowski (piano) with the Vienna 
State Philharmonia conducted by Hans Swarow' 
sky. One and one'half sides, and Chopin: (4) 
Impromptus. Mieczyslaw Horszowski (piano). 
M2" disc (*VX'PL'7870) $5.95. 

In the Sandor'Ormandy recording of the Chopin 
First Concerto, there is an enormous cut in the or' 
chestral introduction. Not having a score at hand, 
we cannot say how many measures, but we would 
guess at least seventy'five. This is doubly curious, 
since the notes on the jacket state: “The first move' 
ment begins with an orchestral introduction of one 
hundred'odd measures in which all the principal 
themes of the movement appear . . .” Whoever 
wrote the notes had not heard the recording or he 
would not have reminded the listener of this fact. 
Swarowsky offers the score as written, and with less 
of an annoyed approach which sticks out of the 
Ormandy reading. Horszowski is a more able pianist 
in matters of projecting the Chopin idiom than 
Sandor. While the Columbia reproduction is brighter 
and more forward, the Vox recording is good, and 
considering the performance, the more desirable of 
the two. Other disc versions are no better. 

Vox has been quite a champion of the four Im * 
promptus. Guiomar Novaes and Gaby Casadesus 
have recorded them for Vox; however the numbers 
seem to have been withdrawn at this time. Now we 
have Horszowski’s versions, and they have only one 
competitor, Erno Balogh. The four Impromptus in' 
eluded on the same disc as the concerto make this 
an attractive value. Horszowski, a much admired 
pianist by musicians, plays these works with strength 
and a rather lofty style that eschews any romantic 
dalliance. He carries it rather far in the case of the 
overplayed Fantasy 'Impromptu, but he is probably 
correct — our tastes prefer a freer reading, right or 
wrong. In all, this is a good Chopin disc, which can 
stand up well with competition. S. 

Beethoven: Concerto No. 2 in B-flat, Op. 19. 
One side, and Beethoven: Concerto in E-flat 
(1784). Paul Jacobs (piano) with TOrchestre 
Radio'Symphonique de Paris conducted by Rene 
Leibowitz. M2" disc (*OC'OCS'35) $5.95. 

The interest in this disc lies in the recording of 
the Concerto in E'flat. Written in 1784 when 
Beethoven was a lad of fourteen, the published 
score consisted merely of the piano part with orches' 
tral introductions, interludes, and codas reduced to 

• Indicate# LP 885^ rpm. 
0 Indicate# 45 rpm. 




The Nm Records 


two staves and which did not include any orchestral 
accompaniment. The actual orchestration customarily 
performed today was carried out, in the early thir- 
ties, by the Swiss musician Willy Hess. Rene Leibo- 
witz has made some changes in this orchestration, 
which he explains in the cover notes (he wrote the 
notes, and they are excellent). Leibowitz also wrote 
a cadenza for the first movement and completed the 
second movement cadenza. The work which Leibo- 
witz has done not only improves the music, but 
also adds to his knowledge and authority in con- 
ducting the music. There are two other LP’s of 
this work, but we think the present set is the best; 
the loving care in preparation is evident and the 
finish which soloist and conductor bring to their 
performance is admirable. 

The Concerto 7s [o. 2 is played with fine regard 
for the fact that Beethoven was using Mozart for 
a model in this, his first concerto of the famous 
five (it was composed before the C major. Op. 15, 
when the composer was 25 years old). While it 
shows a depth and mastery, it was clearly patterned 
after Mozart’s later piano concertos. Other recordings 
of the Second by Backhaus and by Kapell are on 
10" LP discs, which are a disadvantage, particularly 
since the present disc has such an interesting coupl- 
ing. We would recommend this one as a good buy; 
it is good mechanically and artistically. S. 

Gershwin: Concerto in F. Leonard Pennario (piano) 

with the Pittsburgh Symphony Orchestra con- 
ducted by William Steinberg. 1-12" disc (*CL- 
P-8219) $5.70. 

Whether we have not heard the work for a while, 
whether we appreciate it more, or whether this is 
an exceptional performance of the work, we do not 
know; but this recording proved to be most enjoy- 
able and commanded a new respect for the music. 
Written a quarter of a century ago, in the jazz idiom 
at the invitation of Dr. Walter Damrosch, this work 
is holding up well today as an acceptable concerto 
in the standard repertoire. It has a remarkable fusion 
of standard symphonic styles with genuine popular 
jazz styles of its day, and it is as American, even 
now, as a hot dog and coke. 

Steinberg’s performance appears to be based on 
the letter of the score, with less gilding of the lily 
than Kostelanetz can resist in the only other LP 
recording (*C-ML-4025). Leonard Pennario, who 
has contributed a lot of fine piano playing to Cap- 
itol’s library, is a far less celebrated Gershwin inter- 
preter than Oscar Levant, pianist on the Columbia 
disc; however, Pennario plays this work with unfail- 
ing enthusiasm and fine technical resource. His 
playing in the fast and tricky third movement is 
splendid. Capitol has captured this performance with 
fine fidelity and good balance. The Pittsburgh Or- 
chestra plays with a skill that places it high in the 
roster of our best orchestras. We can recommend 
this disc without reservation. One thing always 

amuses us about this work — typically American as 
it is, the tempo indications of each movement are 
in Italian, a matter which, fortunately, cannot be 
heard. S. 

Handel: (3) Concerti for Viola and Orchestra. 

Emanuel Vardi (viola) with the Stradivari Cham- 
ber Orchestra. 1-12" disc (*STR-617) $5.95. 
CONTENTS: Concertos in B minor, G minor, 
and B'flat. 

Unfortunately William Primrose has not seen fit 
to re-record the Handel B'flat Viola Concerto which 
he so expertly executed on 78 rpm; but also unfor- 
tunate is the fact that Emanuel Vardi’s reading of 
the work does not match that of Primrose. Vardi’s 
performance is nervously angular and overly fast. 
It does not have the freer tensions which perform- 
ances of baroque music ought to have. Nor are his 
readings of the G minor and B'flat Concerti permitted 
a more relaxed pace. Playing, however, both by 
soloist and orchestra is notably accurate and con- 
sistent and should, for this reason, be appealing to 
those who prefer the demonically angular concep- 
tions of, for example, Casals or Toscanini. C. 

Mozart: Concerto No. 21 in C, K. 467. One side, 
and Mozart: Concerto No. 25 in C, K. 503. 

Marguerite Roesgen-Champion (piano) with the 
Lamoureux Orchestra conducted by Arthur Gold- 
schmidt. 1-12" disc (*PE-SPL-571) $5.95. 

Mozart: Concerto in G, K. 313. Fernand Marseau 
(flute) with the Lamoureux Orchestra conducted 
by Arthur Goldschmidt. One side, and Mozart: 
Concerto in D, K. 314. Jean-Pierre Rampal (flute) 
with the Leamoureux Orchestra conducted by 
Arthur Goldschmidt. 1-12" disc (*PE-SPL-564) 

As there are adequate recordings of all of this 
Mozart music already available, we can see no par- 
ticular reason for the release of the present versions. 
However, as Mme. Roesgen-Champion has quite a 
following among record collectors in this country, 
it is possible that her recordings of these two popular 
Mozart concertos may enjoy a reasonable sale. 

Mozart: Concerto No. 21 in C, K. 467. One side, 
and Mozart: Concerto No. 26 in D, K. 537 

(“Coronation”). Joerg Demus (piano) with the 
Vienna State Opera Orchestra conducted by Milan 
Horvath. 1-12" disc (*WEST-WL-5183) $5.95. 
The main interest in this disc is the coupling, 
for it pairs two works which have much in common, 
and which have similar appeal. Two other LP's of 
the No. 21 exist, and at least one of them, Jensen 
and Woldike (*HS-HSLP-1054) is a better job than 
this one by Demus. Four otfier LP's of the No. 26 
are in the catalogs, and at least one of them is 
better than Demus’, that being Kraus and Moralt 
(*VX-PL-7300) — there is also the well-known No. 
26 by Landowska (*V-LCT-1029). Most persons 



• indicates LP 88 rpm 
0 Indicates 45 rpm. 


The R ecords 


will find the present disc by Demus satisfactory, 
for the points of superiority in the other versions 
are fine points, to be sure. Demus is a young artist 
who has not quite the control of these other pianists, 
but his style is good, as is also the style of the 
accompaniments he receives. In the Ho. 21 he plays 
a cadenza by Busoni, which may not be the last 
word in your opinion, and he also adds a few Vien' 
nese touches here and there in some piano entrances. 

The general competence and the attractiveness of 
the coupling of these two works should give this disc 
a fair competitive chance. The reproduction is 
good, with good piano tone and fine balance. S. 


Bartok: Portrait, Op. 5, No. 1. Joseph Szigeti 
(violin) with the Philharmonia Orchestra con* 
ducted by Constant Lambert. And Bartok: Rhap- 
sody No. 1 . Joseph Szigeti (violin) and Bela 
Bartok (piano) (TNR Feb. Ml). One side, and 
Bartok: Contrasts for Violin, Clarinet and Piano. 
Joseph Szigeti (violin), Bela Bartok (piano) and 
Benny Goodman (clarinet) (TNR Dec. MO). 
MO" disc (*C'ML'2213) $4. 

In our July 1953 issue we reviewed two recordings 
of Bartok’s Sonata for Unaccompanied Violin, one 
of which was coupled with the same composer's 
Three Contrasts for Violin, Piano, and Clarinet; 
and in that review we spoke, briefly, of the tech' 
niques of playing Bartok’s music. Here, in a re' 
release featuring Joseph Szigeti, one of the few truly 
competent exponents of the work of the late Hun' 
garian composer, occurs, we think, precisely the 
ideally correct kind of performance of which we 

The Three Contrasts was commissioned by the 
Messrs. Goodman and Szigeti, and with Bartok hihi' 
self here executing the piano part, the three of 
them have little trouble outclassing the aggressive and 
immature noises that one finds on the Bartok record' 
ing ( *B ARTOK'BRS'9 16). The Rhapsody Ho. 1 
was dedicated to Joseph Szigeti and it, like the Por' 
traits for Orchestra, is a product of Bartok’s early 
style, though certainly is not, because of that, to 
be thought of as inferior. 

Although all three works on this disc were re' 
corded many years ago, only the Rhapsody and the 
Contrasts have previously been issued (and reviewed 
in TNR as indicated in the heading above); for 
some reason, the Portrait, Op. 5, Ho . 1 was never 
issued, and so we owe a debt of thanks to Columbia 
for having preserved the master and making it avail' 
able to us at long last. 

Mr. Szigeti, as he performs in all three of these 
works, displays his musical services to the late com' 
poser in the most splendid manner, providing here, 
as he does, one of the most significant and repre' 
sentative discs of Bartok's work. C. 

Villa-Lobos: Nonetto (for Flute, Oboe, Clarinet, 
Saxophone, Bassoon, Harp, Celesta, Battery and 
Mixed Chorus). One side, and Villa-Lobos: 
Quatuor (for Flute, Harp, Celesta, Alto Saxophone 
and Women’s Voices). Roger Wagner Chorale 
and the Concert Arts Players conducted by Roger 
Wagner. M2" disc (*CL'P'8191) $5.70. 
Considerable attention is being directed these days 
to the extraordinarily vigorous and exciting works of 
Brazil’s Heitor Villa'Lobos. There are approximately 
sixteen records listed in the Schwann catalog and 
the present disc is a worthwhile addition to the 
growing total. 

Villa'Lobos delights in odd combinations of in' 
struments (one of the Bachianas Brasilieras is scored 
for soprano, seven ’celli and one double bass) and 
these two chamber works show this characteristic at 
its peak. The Honetto is a sort of musical tour of 
Brazil ( it is subsided lmpressao Rapida de todo o 
Brasil) and includes a wild celebration, snatches of 
song, a glimpse of street life and so on. It is not 
easy music, either for performer or listener, but the 
sheer vigor of the score, almost overwhelming at 
first, is one of its chief merits — such vitality impresses 
even if the idiom is exotic. The Quatour is a quieter 
piece, more lyrical, more formal. In fact, it is 
divided into three movements, an allegro con moto, 
andantino and a final allegro deciso. It is described 
as “pastoral” in nature on the jacket notes but there 
are countrysides and countrysides. 

The use of voices in both works is confined to 
vocalising; there are no words. The effect is strik' 
ing and, somehow, essentially proper. This re' 
viewer’s quarrel with both works is the inclusion of 
the saxophone. This instrument with its characteristic 
“mooing” quality has always been annoying and, 
coupled with its association with dance bands, has 
always been a hete noir. This may be pure snobbery, 
but it is none the less real. 

Despite the presence of the saxophone, however, 
the pieces are invigorating spiritually and rewarding 
musically. Roger Wagner directs with verve and 
enthusiasm in which he is seconded by his instru' 
mentalists and chorus. Good recording is an added 
feature. Well worth investigating. W. 

Handel: (6) Sonatas for Violin and Harpsichord, 

Op. 1 . Alfred Campoli (violin) and George Mah 
colm (harpsichord). M2" disc (*L'LL'652) 

Handel: (4) Sonatas for Recorder and Continuo, 

Op. 1 . Alfred Mann (recorder), Helmut Reimann 
(violoncello) and Helma Eisner (harpsichord). 
M2" disc (*VX'PL'7910) $5.95. 

Of the fifteen Sonatas which comprise Handel’s 
Opus No. 1, six are for violin, four are for recorder, 
three are for transverse flute and two are for oboe 
— all of course, having a thorough bass. Those for 
violin and for recorder are presented here in two 

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g indicates 45 rpm. 


PAGE 10 


T he R ecords 1953 

of the finest recordings of Handelian chamber music 
now available. Alfred Campoli captures perfectly 
the baroque rhythms of these Sonatas, warm but 
unsentimental in the slow movements and brilliantly 
vivacious in the fast ones. His accompanist, George 
Malcolm, fully shares his competent spirit as both 
are clearly projected in London’s typically excellent 

Alfred Mann has not only presented one of the 
most splendid discs of Handel’s works, but one of 
the finest discs in the entire repertoire of pre'dassical 
music and, to our hearing, the best example of the 
unfortunately near defunct art of recorder playing. 
He avoids all spurious effects, exhibiting an under' 
standing and devotion to the Sonatas (instead of to 
his audience, or, as with the romantics, to himself) 
that is refreshingly rare in its integrity. His accom' 
panists, Helmut Reimann and Helma Eisner, like 
George Malcolm, are comparably excellent and they, 
like Campoli and Malcolm, are realistically presented 
on Vox’s new “Ultra High Fidelity’’ records. C, 

Schubert: Quartet No. 1 in B-flat. And Schubert: 
Quartet No. 2 in C. One side, and Schubert: 
Quartet No. 3 in B-flat. Vienna Konzerthaus 
Quartet. M2" disc (*WEST'WL'5204) $5.95. 
Schubert: Quartet No. 4 in C. One side, and 
Schubert: Quartet No. 5 in B-flat. And Schu- 
bert: Quartet No. 12 in C minor (“Quartetsatz”). 
Vienna Konzerthaus Quartet. M2" disc 
(*WEST'WL'5210) $5.95. 

Schubert: Quartet No. 13 in A minor, Op. 29. 
Vegh String Quartet. M2" disc (*L'LL'587) 

Schubert: Quartet No. 12 in C minor (“Quartet' 
satz”). One side, and Wolf: Italienische Serenade 
in G. Koeckert Quartet. MO" disc (*D'DL' 
4044) $2.50. 

Schubert: Nocturne in E-flat, Op. 148. One side, 
and Schumann: Trio No. 1 in D minor, Op. 60. 

Mannes'Gimpel'Silva Trio: Leopold Mannes 
(piano), Bronislav Gimpel (violin) and Luigi 
Silva (violoncello). M2" disc (*D'DL'9604) 

Another batch of recordings of Schubert chamber 
music recently arrived at the studio. Of prime im' 
portance are the splendid recordings of five of the 
early string quartets (Nos. 1 to 5 inch) by the 
excellent Vienna Konzerthaus Quartet. All of these 
interesting works were composed before the young 
Schubert was seventeen years of age. 

Villa-Lobos: Trio for Violin, Viola and Violon- 
cello (1945). Alexander Schneider (violin), Mil' 
ton Katims (viola) and Frank Miller (violoncello). 
MO" disc (*C'ML'2214) $4. 

This Trio of Villa'Lobos is not a work that one 
can grasp at the first one or two hearings. It is in 
the modern idiom and depends for its attraction 

upon its rhythmic excitement rather than its melodies 
which will sound strange to ears not accustomed to 
music of this character. The recording artists, who 
are members of The New York Quartet, give a 
cleanly cut and spirited performance which would 
seem to us to present the music in its most attractive 

Dvorak: Quartet No. 6 in F, Op. 96 (“American’’). 
One side, and Smetana: Quartet No. 1 in E 
minor (“Aus meinen Leben’’). Koeckert Quartet: 
Rudolf Koeckert and Willi Buchner (violins), 
Oskar Reidl (viola) and Josef Merz (violon' 
cello). M2" disc (*D'DL'9637) $5.85. 

Dvorak: Quartet No. 6 in F, Op. 96 (“American”). 
One side, and Smetana: Quartet No. 1 in E 
minor (“Aus meinen Leben”). Curtis String 
Quartet. M2" disc (*WEST'WL'5199) $5.95. 
Dvorak: Quartet No. 6 in F, Op. 96 (“American”). 
One side, and Smetana: Quartet No. 1 in E 
minor (“Aus meinen Leben”). Stradivari Records 
String Quartet. I'll" disc (*STRAD'STR'613) 

Dvorak: Quartet No. 6 in F, Op. 96 (“American”). 
Hungarian Quartet: Zoltan Szekely and Alex' 
dre Moskowsky (violins), Laurent Halleux (viola) 
and Vilmos Palotai (violoncello). One side, and 
Dvorak: Suite in D, Op. 39 (“Czech”). Winter' 
thur Symphony Orchestra conducted by Henry 
Swoboda. M2" disc (*CH'CHS'1157) $5.95. 
The reviewer’s life is indeed not a happy one 
when four more recordings of Dvorak’s “American” 
Quartet and three of Smetana’s “Aus meinen Leben” 
Quartet arrive within a month or two. As for the 
“American” Quartet, we have a highly satisfactory 
version in our private library by the Griller String 
Quartet (*L'LL'4) and we see no reason to make 
a change. As for the “Aus meinen Leben” Quartet, 
we would choose the Curtis String Quartet recording 
listed above. We would then have two recordings 
of the Dvorak “American” but then there is nothing 
we can do about that. 

Beethoven: Trio in G, Op. 9, No. 1 . One side, and 
Beethoven: Trio in D, Op. 9, No. 2. Jean Pougnet 
(violin), Frederick Riddle (viola) and Anthony 
Pini (violoncello). M2" disc (*WEST'WL' 
5198) $5.95. 

Beethoven: Trio No. 5 in D, Op. 70, No. 1 . One 
side, and Beethoven: Trio No. 6 in E-flat, Op. 70, 

No. 2. Santoloquido Trio: Ornella Puliti Santo' 
liquido (piano), Arrigo Pelliccia (violin) and 
Massimo Anfiteatroff (violoncello). M2" disc 
(*D'DL'9691 ) $5.85. 

As there are other LP recordings of these Beethoven 
chamber works, we can see no particular reason for 
these additional versions. However, they are of ex' 
cellent quality. In fact we were very much impressed 
with the Westminster recordings of Opus 9, Nos. 
1 and 2. 



Indicates LP 88 rpm. 
0 Indicates 45 rpm. 


The N ew R ecords 


Debussy: (3) Sonatas. Jean Fournier (violin), 
Ginette Doyen (piano), Antonio Janigro (violon- 
cello), Camille Manausek (flute), Erich Weiss 
(viola) and Hans Jellinek (harp). 1-12" disc 
( * WEST-WL- 5 207 ) $5.95. 

CONTENTS: Sonata Ho. 1 in D minor for 
Violoncello and Piano ; Trio Sonata Ho. 2 for Flute, 
Viola and Harp; Sonata Ho. 3 in G minor for Violin 
and Piano. 

Quite frequently the couplings that occur on a 
single LP record reflect little thought on the part 
of the recording company; in fact, occasionally they 
even exhibit a strange sense of musical values of the 
type which is responsible for combining such dis- 
parate composers as Bach and Bruch, Mozart and 
Bartok, and Satie and Schonberg. Westminster has, 
apparently, more than any other company, shown 
competence in avoiding these follies and an unique 
talent for setting forth such satisfactory combina- 
tions as the four overtures to Beethoven's Fidelio 
and the two Liszt Piano Concerti on single records. 
They now offer, as an additional example of their 
taste, three of Debussy's most prominent chamber 
works on one of the most attractive and representa- 
tive LP's of the French impressionistic period. The 
performances are completely satisfactory and in ex- 
tensive sympathy with the music, aided, in their 
effect, as is so frequently the case with Westminster 
records, by a kind of recorded sound that, we should 
say, is just about ideal for conveying chamber 
music. C. 


Haydn: Die Jahreszeiten ("The Seasons"). (Sung 
in German). Elfride Trotschel (soprano); Walter 
Ludwig (tenor); Josef Greindl (bass); RIAS 
Chamber Choir; Choir of St. Hedwig's Cathedral 
and RIAS Symphony Orchestra conducted by 
Ferenc Fricsay. 3' 12" discs in album (*D-DX- 
123) $17.55. 

This is the third appearance of Haydn’s The 
Seasons on LP discs. The first by Cetra is an 
abridged version and early recording. The other 
complete recording is by the Haydn Society and, 
while an estimable job, it is overshadowed both 
technically and musically by the present issue from 

To begin with, the soloists in this new production 
are as fine as could be wished for; Elfride Trotschel 
is a glorious-voiced young soprano with a wide even 
range, and she has the ability to color a phrase that 
makes every note she sings interesting and musical. 
Walter Ludwig is an old timer who still has lots of 
voice. His years of experience plus an innate artistry 
make his contribution to the performance a notable 
one. And as for Josef Greindl, there are only a 
handful of basses who could equal his sure vocalism 
and none that could surpass it. Add to this some 

of the finest choral singing on records and Ferenc 
Fricsay’s sensitive and inspired direction and you 
have a performance that will stand for years to 

Now all these artistic forces have not been let 
loose on something ordinary. Haydn’s score deserves 
the adjective miraculous while von Swieten’s libretto, 
based on James Thomson’s poem, is a veritable gem. 
And even more impressive than the music, or perhaps 
one should say because of the music, is the lesson 
of the oratorio. We have come a long way since 
Haydn set these words and certainly we can not 
turn back, but there is a powerful sermon in the 
piece, one the present world could profit by im' 
measurably. Haydn did well to write In Homine 
Domine at the beginning of the score and Laus Deo 
at the close. 

Irving Kolodin’s notes are excellent, the complete 
German-English text is included, and the recording 
is first class from start to finish. W. 

Haydn: Missa brevis ("Sancti Joannis de Deo"). 
Copenhagen Boys’ and Mens’ Choir and Chamber 
Orchestra of the Palace Chapel (Copenhagen) 
conducted by Mogens Woldike, with Master Kurt 
Frederiksen (boy soprano) and Soren Sorensen 
(organ). One side, and Haydn: (6) Songs for 
Mixed Voices. Chamber Choir of the Danish 
State Radio conducted by Mogens Woldike, with 
Boris Linderud (piano). IT 2" disc (*HS-HSL- 
2064) $5.95. 

CONTENTS: Aus dem Dan\liede zu Gott; Der 
A ugenblic\; Die Harmonie in der Ehe ; Die Bered' 
sam\eit; Der Greis; Abendlied zu Gott. 

The Missa brevis Sancti Joannis de Deo or 
"Kleine Orgelmesse” was written by Haydn before 
1778 for a chapel of the Order of the Brothers of 
Mercy at Eisenstadt. St. John of God, to whom the 
Mass is inscribed, was a Portuguese living in the 
16th century and who founded the Order of the 
Brothers of Mercy. 

The piece, brief though it is (playing time 17 
minutes) may well be accounted one of Haydn’s 
finest efforts in the field of sacred music. The limited 
vocal forces and the dainty orchestral accompaniment 
of six violins, ’cello, double bass and positiv organ 
add to its charm. Special note must be made of the 
graceful and serene Benedictus with its long organ 
introduction and soprano solo. The soloist, Master 
Kurt Frederiksen sings accurately, with good sense 
of pitch and his clear young voice adds much to the 
success of the performance. 

The six "vocal quartets” were written some twenty 
years after the Mass and are the result of Haydn’s 
acquaintance with the English madrigal. He said 
that these part-songs were "conceived con amore in 
happy hours without being commissioned." They cer- 
tainly sound it; two of them. Eloquence and Har- 
monious Marriage are humorous, the latter having 
a touch of irony about it, particularly in view of 

* indicates LP 83 ft rpm. 
0 Indicates 45 rpm. 


PAGE 12 


T he New R ecords 


Haydn's own marital unhappiness. 

Mogens Woldike, whose name is rapidly becoming 
synonymous with the finest music and performances 
on records, directs both works with loving care; his 
singers and instrumentalists respond with superb 
performances. Add to this the fine recording achieved 
by the Danish HMV engineers and Karl Gieringer's 
authoritative notes, and you have another typically 
fine release from the Haydn Society. W. 

Charpentier: Te Deum. One side, and Charpentier: 
Marche de Triomphe. And Charpentier: Air de 
Trompette. And Charpentier: Le^on de Tene- 
bres. And Charpentier: Oculi Omnium. (Sung 
in Latin). Claudine Collart, Jean Archimbaud 
(sopranos); Yvonne Melchior (alto); Pierre Gia* 
notti (tenor); Louis Noguera (bass); Chorale of 
the Jeunesses Musicales de France and Orchestra 
of the Concerts Pasdeloup conducted by Louis* 
Martini, with Gerard Coursier, Gilbert Desprez 
(trumpets) and Marie*Louise Girod (organ). 
1*12" disc (*HS*HSL*2065) $5.95. 

Marc'Antoine Charpentier, whose opera Medee 
was noted in these columns a month or so ago, is 
beginning to receive considerable attention after vir* 
tually 250 years of neglect. The lack of interest 
in his music during his lifetime was due, in the main, 
to Lully's jealousy (Lully was no fool!) but there 
has been founded, quite recently, an International 
Charpentier Society, headed by a M. Guy*Lambert 
to correct this error of artistic judgment. Presumably 
we will be hearing more of Charpentier’s music via 
records for one of the offices of the Society is 
located in Boston. 

The Te Deum recorded here is a mightily im* 
pressive piece of music, very reminiscent of Handel 
(one should put this the other way, Handel is 
reminiscent of Charpentier). This is one of six 
Te Deums Charpentier wrote for various military 
victories, peace treaties and the like. It is a joyous 
work and full of vitality. In fact, the vitality, the 
sheer animal spirits of the music is one of its most 
notable features. 

Two orchestral items, a Marche de Triomphe and 
a Second Air de Trompette follow and here again 
one is impressed. The scoring for high trumpet, 
usually associated with Bach and Handel some fifty 
years later, is really something to conjure with. 
Vitality is again the order of the day, and both 
pieces bounce along in magnificently extrovert fash* 
ion. The style of both orchestral pieces is more 
French than Italian. The second side also includes 
two choral works, one a setting of the Lamentations 
of Jeremiah ( Lecon de Tenebres ), scored for two 
sopranos, alto, 'cello and organ. It is introspective, 
highly ornamental and always fascinating. The other, 
Oculi Omnium, is a motet whose prevailing mood 
is one of calm and deep rooted peace. 

Of the performances one can only say they carry 
conviction and show the results of serious study. 

The recording is good, marred occasionally by ex* 
cessive echo. One welcomes the activities of the 
International Charpentier Society and looks forward 
to more music by this neglected master whose music 
is eminently worthy of revival. W. 

Beethoven: Die Ruinen von Athen, Op. 113. (Sung 
in German). Annie Woudt (soprano); David 
Hollestelle (baritone); Netherlands Philharmonic 
Choir and Orchestra conducted by Walter Goehr. 
1*12" disc (*CH*CHS*1158) $5.95. 

To celebrate the grand opening of a fashionable 
theatre at Pesth, Hungary, on the 9th of February, 
1812, Beethoven was commissioned to provide inci* 
dental music for two of Kotzebue's new melodramas, 
both of them selfconsciously nationalistic in content 
and character. (August Friedrich Ferdinand von 
Kotzebue was a popular playwright in these years). 
Neither assignment appealed to the composer's high* 
cst instincts, but the promise of a substantial sum 
brought to bear the full play of his then amply 
developed talents. One of the two productions was 
King Stephen: Hungary's First Benefactor. The 
second was The Ruins of Athens. In the present 
recording, the text of those sections which Beethoven 
did not employ is omitted because their empty dia* 
logue lends nothing to the essential musical experi* 
ence. The work is not a play in the modern sense; 
Kotzebue called it a “Nachspiel," which is a kind 
of epilogue or masque. Concert Hall, in addition to 
copious program notes from which we have liberally 
borrowed, supplies also on a separate leaf a text in 
German with an English translation. This thoughtful 
gesture enables us to follow the singing and also 
understand what they are singing. Being none too 
well versed in poetry, nor too steeped in matters 
literary and theatrical, we have the feeling that this 
text is rather on the trashy side. For us, the music 
is the important thing, and once over the words, we 
prefer to just hear it. 

Beethoven turned out some moments of fine music 
for this assignment. Well known is the Marcia alia 
Turca; occasionally heard is the Overture. But even 
better than these are some of the choral passages, 
which the present forces deliver with magnificent 
resource. The first duet is also good, and is sung 
splendidly by two young Dutch singers, possessed 
of fine voices well used. Beethoven scholars will find 
this disc exciting; those who enjoy oratorio*type 
music will find it pleasant. It is given a performance 
of strength and polish, highly inspired by Walter 
Goehr, and beautifully recorded. S. 

Liszt: Missa Choralis. (Sung in Latin). Paris Select 
Choir conducted by Rene Leibowitz, with Giuseppe 
Englert (organ). 1*12" disc (*OC*OCS*37) $5.95. 

Franz Liszt, “Abbe Liszt,'' if you will, was one 
of the most extraordinary mortals ever to pen music — 
a virtuoso pianist, the generally acknowledged creator 
of the orchestral tone*poem, and ardent champion 

PAGE 13 


• Indicates LP 88y$ rpm 
0 Indicates 45 rptr 


The N ew R ecords 


of the then “new” music (Berlioz, Wagner et al) 
as well as an astonishing figure in extra-musical 
activities. All these attributes would tend to lead 
one to expect a M ass off the beaten track. With 
such a varied background it seems natural to look 
for humanity and understanding in a setting of the 
traditional text. 

Not so! The Mass in A minor or “Missa Choralis” 
emerges in this, its first recording, as an undramatic, 
often dull work, that is singularly unmoving. Ob' 
viously composed for common liturgical use, the 
piece makes use of a mixture of simple declamation 
with a cantabile quality, of archaism and Gregorian 
idioms. It was originally written for mixed chorus 
a cappella but later Liszt provided it with an organ 
accompaniment and also gave it a more strictly con' 
trapuntal character. 

The picked chorus, sixteen voices assembled for 
this recording, is a fine one, and Rene Leibowitz, 
the conductor, turns in a performance that does full 
justice to the score. He is no magician, however, and 
consequently can not make more of the Mass than 
is there. The disc is, then, intended for those 
who admire Liszt, who have sung in the performances 
of the Missa Choralis, or curiosity seekers. 

Oceanic has provided first rate sound, some modest 
notes and the complete text. W. 

Wagner: Tristan und Isolde (complete). (Sung in 
German). Kirsten Flagstad (soprano); Blanche 
Thebom (mezzo-soprano); Ludwig Suthaus, Ru- 
dolf Schock, Edgar Evans (tenors); Dietrich 
Fischer-Dieskau, Rhoderick Davies (baritones); 
Josef Greindl (bass); Chorus of the Royal Opera 
House, Covent Garden, and the Philharmonia 
Orchestra conducted by Wilhelm Furtwangler. 
6-12" discs (manual sequence only) (*V-ALP- 
1030/5) $43.80. 

Kirsten Flagstad has become an almost legendary 
figure, even in her lifetime, largely because of her 
magnificent interpretations of the whole range of 
Wagner heroines. Among these heroic women, Mme. 
Flagstad's Isolde has always been singled out for 
special praise. Now all those who never had the 
opportunity to hear her in person and the legions 
who have been waiting for a good recording of her 
Irish princess, have here an imported performance 
that is well nigh flawless. 

Naturally, interest centers around Mme. Flagstad 
(not because she would have it that way, it is only 
that she can not escape the consequences of her 
glorious voice) but there is more than a modicum 
of good singing in the supporting cast. Tristan, in 
the person of Ludwig Suthaus, is a noteworthy char- 
acterization. Herr Suthaus' Tristan has been on view 
before in the complete Urania recording (*UR- 
URLP-202), and it is salutory to observe the dif- 

ferences due to different recording techniques, differ- 
ent Isoldes and different conductors! It is not possible 
to ascribe the great improvement to any one change, 
but this writer strongly suspects that Suthaus rises 
to the occasion because of Flagstad’s inspired singing. 

Others in the long cast are also capable; particu- 
larly fine is the King Mark of Josef Greindl. This 
reviewer has never heard Greindl in person, but 
judging from records it can be stated that he is a 
superior artist who always turns in a sincere and 
musically excellent performance. Blanche Thebom 
is a vocally secure Brangane but leaves a little to 
be desired from a dramatic point of view. Fischer- 
Dieskau’s Kurneval lacks the poise and musical bear- 
ing one associates with the role. 

Brooding over the whole performance is Furt- 
wangler’s sure and artistic direction. His orchestra, 
the hardworking and invariably excellent Philhar- 
monia, plays in inspired fashion. The general tempo 
and atmosphere of the production are on the tradi- 
tional side (which is, to this writer’s way of thinking, 
the best for a performance that will have repeated 
hearings). High spots are Isolde’s Curse, the Liebes' 
nacht and, of course, the Liebestod. The recording 
is a good one technically, not extreme high-fidelity, 
but eminently listenable. No libretto is furnished 
and the discs are pressed in manual sequence. W. 

Handel: II Pastor Fido (complete). (Sung in 
Italian). Genevieve Warner, Lois Hunt, Genevieve 
Rowe (sopranos); Elizabeth Brown, Virginia Paris 
(contraltos); Frank Rogier (baritone); Columbia 
Chamber Orchestra conducted by Lehman Engel, 
with Gino Smart (piano continuo). Sterling 
Hunkins (violoncello) and Saul Ovcharov (violin). 
1-12" disc (*C-ML-4685) $5.45. 

II Pastor Fido, Handel’s second opera for London 
(the first was Rinaldo ) was as great a failure as the 
first was a success. Many reasons have been ad- 
vanced for its failure; libretto (admittedly earth- 
bound), poor cast (this could have been remedied) 
and so on. But the simple fact remains that, for this 
score, Handel just did not have it. Musically the 
piece is a string of arias, recitatives and ensemble 
numbers that do not come to life. Hearing this 
modern performance by Lehman Engel was, for one 
listener, a disappointment — it bred no desire to 
hear it again. 

The cast is excellent in most respects. Miles. 
Warner, Hunt, Rowe, Brown and Paris sing in 
engaging fashion, as does the sole male member of 
the group, Frank Rogier. Obviously considerable 
time went into the preparation of the opera, for 
it is well rehearsed and the singers are familiar with 
their parts. But all for nothing — II Pastor Fido 
remains a stilted, uninspired opera seria. It is unfor- 
tunate that so much effort was expended on one 
of Handel’s few dull operas, for the energy, time 
and money could have been better expended on a 
work such as Rinaldo or Radimisto. 

• Indicate* LP rpm. 

# Indicate* 45 rpm. 


PASS 14 


T he New Records 


Columbia has not helped prospective purchasers 
of II Pastor Fido by only including the outline of 
the plot and a listing of the arias and recitatives. 
Surely more information concerning the genesis and 
style of Handelian opera would make for more in' 
telligent and consequently more enjoyable listening. 
Then, too, one strongly suspects a great deal of the 
opera has been cut, “arranged" and otherwise tarn' 
pered with; but no indication of such goings on is 
mentioned on the jacket. If this is the case, Columbia 
does both itself and the record industry a disservice 
by not playing fair with the buyer. 

The recording is good from a technical angle. 
Better investigate this one first before buying. W. 


Handel: Cantata for Bass Voice and Violoncello 

(“Dalla guerra amorosa"). Hans Olaf Hudemann 
(bass'baritone), August Wenzinger (violoncello) 
and Fritz Neumeyer (cembalo). One side, and 
Telemann: Cantata No. 1 in C (“Ihr Volker, 
hort!"). Hildegard Hennecke (alto), Gustav Sheck 
(flute), August Wenzinger (viola da gamba) and 
Fritz Neumeyer (organ). MO" disc (*D'DL' 
7542) $3.85. 

One hesitates to apply the adjective “interesting" 
to a record these days for the word has picked up 
some undesirable connotations. “Interesting" has 
come to mean, on occasion, “one doesn’t know what 
else to say” or, worse, it has become a word to 
suggest damning with faint praise. 

And yet, interesting, in its true sense, is the best 
description for the music on this disc. It is not 
great music, but it is pleasant. Both works are fas' 
cinating from the historical angle and, for this 
reason alone, deserve a place in all collections of 
baroque music. 

The secular cantata Dalla guerra amorosa, by the 
young Handel, is a melodious piece, very Italian in 
style (Handel’s model was, of course, the great 
Carissimi) and is notable for the restraint and good 
judgment exercised by the youthful composer in 
setting the somewhat perfunctory lines. As sung by 
Hans Hudemann it emerges as both a musical and 
vocal treat, for Herr Hudemann sings with expres' 
sion and good taste. 

Telemann is remembered almost exclusively for 
the famous remark made by a member of the council 
of the St. Thomas Church when it was learned that 
both Telemann and a musician named Graupner 
declined the post of cantor. This anonymous gentle' 
man said that since the best musicians were not 
available “miisse mann mittlere nehmen." The “mid' 
dling" in this case was none other than Johann 
Sebastian Bach! Neither Telemann nor his music 
have been able to live down this classic statement 
although there is a growing interest in his music 
nowadays (after all, Telemann didn’t make nor 

solicit the remark) and the cantata here recorded, 
Ihr Voider, hort! is craftsmanlike, melodious and 
bears a more than superficial resemblance to the 
Handel cantata on the other side. It is admirably 
sung by Hildegard Hennecke. 

Fine recording here and comprehensive notes 
but no texts. W. 

Catches and Glees of the English Restoration 

(Vol. II). The Glee Singers directed by John 
Bath, l'l 2" disc (*AL'AL'3046) $2.95. 

A couple of years ago the first volume of these 
Catches and Glees of the English Restoration 'were 
released by Allegro (*AL'ALG'3008) and enjoyed 
a modest sale among students of that lewd period 
in English literature. Such gay and naughty songs 
found their way appropriately in the plays that 
abounded on the stage of that period. The present 
disc, as was the former one, is not suggested as 
entertainment for the unsophisticated. 

"So This is Love” (The Story of Grace Moore). 
Kathryn Grayson (soprano) with Chorus and 
Orchestra conducted by Ray Heindorf. 2'7" discs 
in folder (0V'EOB'3OOO) $3.15. MO" disc 
(*V'LOC'3000) $4.67. 

The Technicolor picture “So This Is Love” de' 
picts the life of the glamorous Grace Moore from 
her early years to her debut at the Metropolitan 
Opera. Kathryn Grayson takes the part of Miss 
Moore in the picture, and the present LP disc con' 
tains eleven musical numbers from it. There is great 
variety to be sure — several operatic arias and some 
popular selections including I Wish I Could Shimmy 
Li\e My Sister Kate , 


Bach Recital. Gyorgy Sandor (piano), l'l 2" disc 
(*C'ML'4684) $5.45. 

CONTENTS: Fantasia and Fugue in G minor 
(“Great”); Toccata, Adagio and Fugue in C; Pre ' 
lude and Fugue in D; Toccata and Fugue in D 
minor; Prelude and Fugue in A minor. 

This splendid LP disc contains transcriptions for 
piano of several Bach organ works by Busoni, Liszt 
and Sandor. Sandor gives thrilling performances 
and Columbia has caught them with rare fidelity. 
An Ania Dorfmann Recital. Ania Dorfmann 
(piano). 4'7" discs in box (0V'WDM'1758) 
$5.14. M2" disc (*V'LM'1758) $5.72. 
CONTENTS: Papillons, Op. 2 (Schumann); An' 
dante and Rondo Capriccioso, Op. 14 (Mendels' 
sohn); May Breezes (Mendelssohn); Spinning Song 
(Mendelssohn); (3) Ecossaises, Op. 72 (Chopin); 
Un Sospiro (Liszt); Sonatine (Ravel); Ricercare 
and Toccata (Menotti). 

In arranging the recital to be found on this LP 

PAGE 15 


todlcatas LP 88 rpm. 


The Nm R ecords 


disc, Miss Dorfmann doubtless had in mind an 
audience who would like highly refined selections in 
which delightful melodies abound in great profusion. 
The result is a most intimate recital that one may 
enjoy best in the quiet and seclusion of one’s own 
home. As we listened to this record, we had the 
feeling that Miss Dorfmann was playing these lovely 
pieces just for us. 


Bach: Suite No. 4 in E-flat. One side, and Bach: 

Suite No. 5 in C minor. Lillian Fuchs (viola). 

M2" disc (*.D'DL'9660) $5.85. 

We are not quite certain why Lillian Fuchs has 
chosen to perform these Suites for ’cello on the viola 
(probably since the ’cello for which they were 
written is markedly different from today’s instrument, 
she did not consider the instrumentation critical); 
but the admirable results she achieves wholly justify 
her performances. Generally, her playing tends to' 
ward a slight over'seriousness with somewhat too 
slow tempi. But the precision and formal excellence 
she maintains place her within the foremost rank 
of the few persons who have offered satisfactory 
recordings of these Suites. 

The use of the higher pitched instrument, in this 
case, combined with Miss Fuch’s solemnity of inter' 
pretation, produces a reading which sounds like the 
last possible abstraction of the dance melodies which 
form the basis for these works. And it is to those 
who would prefer this sort of approach over, say, 
the warmer, more rhythmically intense readings of 
Starker that Miss Fuchs' records are recommended. 


Tanidos de Guitarras. Luis Maravilla (guitar). 

M2" disc (*WEST'WL'5194) $5.95. 

The Luis Maravilla of this recording is also the 
Lopes Tejera of the famous Joys and Sorrows of 
Andalusia (*WEST'WL'5135), the former name 
being his nom'de'plume, the latter being his true 
one and the name under which he composes. Half 
of this recording is devoted to Tejera’s own works, 
which are generally wrought within the conventional 
Flamencan idiom. The others are, more or less, 
standard guitar pieces; and all are presented with a 
competence of which those who know the Joys and 
Sorrows record need not be assured. Maravilla, who 
has been concerting since the age of twelve, is 
certainly pre'eminent in his profession, and is son' 
ically done no injustice by the sparkling clarity of 
Westminster’s recording. C. 



The World’s Encyclopaedia of Recorded 
Music. By Francis F. Clough and G. J. 
Cuming. 890 pp. Sidgwick and Jackson, 
Ltd. (London). Price $17.50. 

The 7s lew Catalogue of Historical Records 
1 898' 1 908/09. Compiled by Robert Bauer. 
494 pp. Published in England. For sale in 
U. S. A. by H. Royer Smith Co. (Philadeh 
phia). Price $7.25. 

The Gramophone Shop Encyclopedia of Re' 
corded Music (Third Edition) . Robert H. 
Reid, Supervising Editor, 639 pp. Crown 
Publishers (New York). Price $2.95. 

The Victor Boo\ of Operas. Revised and edited 
by Louis Biancolli and Robert Bagar. 
xxiv-f-596 pp. Illustrated. Simon and 
Schuster (New York). Price $5. 

Victor Boo\ of Concertos. By Abraham Veinus. 
xxv + 450 pp. Simon and Schuster (New 
York). Price $3.95* 

Collectors’ Guide to American Recordings 
1895' 1925. By Julian Morton Moses. 
Foreword by Giuseppe De Luca. 200 pp. 
Published by the author. Price $3.75. 

I Hear You Calling Me. By Lily McCormack. 
201 pp. Illustrated. The Bruce Publishing 
Co. (Milwaukee). Price $2.75. 

Records: 1950 Edition. By David Hall, ix -f- 
524 T xx pps. Alfred A. Knopf (New 
York). Price $6. 

NOTE: All the above books have been reviewed 
in previous issues of The T^cw Records. If your local 
dealer does not stock them, orders addressed to H. 
Royer Smith Co., Philadelphia 7, Pa., will be promptly 
filled. The prices quoted include postage to any point 
within U.S.A. 

The flr st otters n the recor d number Indieate the m an ufa ctur c r: A L—AHegro. BG— Bach Guild, C— Columbia, CE— Cetra, CH— Concert 
S2 , . , ^ So £- , * e u ty ; c J-T7 Cap,to / .ipSIV* — Colosseum, CRS— Collector’s Record Shop, D— Decca, D L — Dial, ESO— Esoteric. FEST— Festival. 
FOLK-Ethn.c Folkways Library, GIOA— Gregorian Institute of America, HS— Hadyn Society, L— London Gramophone. LYR — Lyrl- 
chord, ME-— Mercury, OC— Oceanic, 0 L — L’Oiseau Lyre, PE— Period, PH M — Philharmonia, PLM— Polymusic, REN— Renaissance, SOT— 
Sounds of Our Times, STR— Stradivari, UR— Urania, V— Victor, VAN— Vanguard, VX— Vox, and WEST— Westminster. 

Indicates LP 83^ rpm. 
g Indicates 45 rpm. 


PAGE 16 

The New R ecords 


Issued Monthly by 


“The World's Record Shop - 


VOL2l.NO. 8 OCTOBER, 1953 e» m.u to •>»«<*£ 

W E HAVE just been listening to one of 
the most unbelievable recordings to have 
come to our attention in a long while. It is the 
complete New Testament (Authorised King 
James Version). The reading is indescribably 
beautiful; this set will surely bring new mean- 
ing and new understanding of the Holy Word 
to those who hear it. 

This truly remarkable set is published by the 
Audio Book Co. in an album of simulated 
leather with gilt lettering. It contains twenty- 
four 7 -inch microgroove records which will 
play on any LP (33]/3 rpm) phonograph. Each 
set is attractively boxed, making it an ideal gift. 
The letters on each disc are raised, so that the 
blind may identify the contents of each. And 
the edition is complete — every word of every 
chapter from Matthew through Revelation is 

The price of this album is $22.95. If your 
local dealer cannot supply you, orders ad- 
dressed to the publishers of this bulletin will 
be promptly filled. The price includes postage 
to any point in U. S. A. 


We are continually receiving requests for 
back copies of The New Records. Most of 
the issues published during the last twenty 
years are available. The price is 10c each. A 
file of all of the available issues (at least 140 
copies) is $5. These prices are postpaid within 

NOTE: Those persons interested in recent 
recordings only may secure all of the issues of 
the last three years beginning October 1950 
(36 copies) at the special price of $2 (postpaid 
within U. S. A.). 


Puccini: La Boheme (highlights). Rosanna Cartieri 
(soprano), Ferruccio Tagliavini (tenor), Cesare 

Siepi (bass) with Orchestra of Radio Italiana 
(Turin) — Santini. 1-12" disc (*CE-A50143) 
$5.95. (TNR Apr. ’53). 

Leoncavallo: I Pagliacci (highlights). Carla Gavazzi 
(soprano), Carlo Bergonzi (tenor), Carlo Tag- 
liabue (baritone) with Orchestra and Chorus of 
Radio Italiana — Simionetto. One side, and Mas- 
cagni: Cavalleria Rusticana (highlights). Fernanda 
Cadoni (soprano), Achille Braschi (tenor) with 
Chorus and Orchestra of CETRA — Basile. 1-12" 
disc (*CE-A50144) $5.95. (TNR Dec. ’51 and 
Aug. ’52). 

Mozart: Le T^ozze di Figaro (highlights). Alda Noni, 
Gabriella Gatti (sopranos); jolanda Gardino 
(mezzo-sopranos); Italo Tajo (bass); with Or- 
chestra of Radio Italiana — Previtali. 1-12" disc 
(*CE-A50141) $5.95. (TNR Oct. ’51). 

Verdi: Aida (highlights). Caterina Mancini (so- 
prano); Mario Filippeschi (tenor); Rolando 
Panerai (baritone); Guilio Neri (bass); with 
Orchestra and Chorus of Radio Italiana — Gui. 
1-12" disc (*CE-A50142) $5.95. (TNR Feb. 


Weber: Der Freischiitz — Overture. One side, and 
Gluck: Alceste — Overture. Berlin Philharmonic 
Orchestra conducted by Fritz Lehmann. 1-10" disc 
(*D-DL-4075) $2.50. 

Beethoven: Coriolan Overture, Op. 62. Berlin Phil- 
harmonic Orchestra conducted by Fritz Lehmann. 
One side, and Beethoven: Die Wiehe des Hauses 
Overture, Op. 124 (“Consecration of the House”). 
Berlin Philharmonic Orchestra conducted by Paul 
van Kempen. 1-10" disc (*D-DL-4068) $2.50. 

Glinka: Russian and Ludmilla — Overture. City of 
Birmingham Orchestra conducted by George Wel- 
don. And Mendelssohn: The Hebrides Overture, 
Op. 26 (“FingaPs Cave”). Halle Orchestra con- 
ducted by Sir Malcolm Sargent. And Offenbach: 
Orpheus in Hades — Overture. Philharmonic Or- 
Orchestra conducted by George Weldon. One side, 
and Strauss: Die Fledermaus — Overture. And 
Borodin: Prince Igor — Overture. Halle Orches- 
tra conducted by Leslie Heward. 1-12" disc 
(*C-RL-3072) $2.98. 


T he ^ew VsXCords 


Berlioz Overtures. Philharmonia Orchestra con' 
ducted by Paul Kletski. M2" disc (*C'RL'307l) 

CONTENTS: Beatrice and Benedict; Judges of 
the Secret Court, Op. 3; Benevenuto Cellini, Op. 
23; The Corsair, Op. 21. 


Beethoven: Symphony No. 3 in E-flat, Op. 55 

(“Eroica"). Rochester Orchestra conducted by 
Erich Leinsdorf. M2" disc (*ORL'3069) $2.98. 

Beethoven: Symphony No. 3 in E-flat, Op. 55 

(“Eroica"). Royal Philharmonic Orchestra con' 
ducted by Sir Thomas Beecham. M2" disc 
(*C'ML'4698) $5.45. 

Beethoven: Symphony No. 3 in E-flat, Op. 55 

(“Eroica"). Vienna Philharmonic Orchestra con' 
ducted by Wilhelm Furtwangler. M2" disc 
(*UR'URLP'709?) $5.95. 

Beethoven: Symphony No. 3 in E-flat, Op. 55 

(“Eroica"). Pro Musica Symphony (Vienna) 
conducted by Jascha Horenstein. M2" disc (*VX' 
PL'8070) $5.95. 

Beethoven: Symphony No. 3 in E-flat, Op. 55 

(“Eroica"). Vienna State Opera Orchestra con' 
ducted by Hermann Scherchen. M 2" disc 
(*WEST'WL'5216) $5.95. 

The appearance of five new versions of any item 
in one month happens far less frequently than a 
total eclipse of the sun, and with five new “Eroica" 
Symphonies we thought it might be quite an idea to 
give the assignment to two of our seasoned reviewers 
without letting either \now that the other was going 
to review the same wor\s. The results appear below, 
and S. and W. will learn of this when they receive 
their copies of our October issue. — Editor. 

With five new Eroicas, plus some worthy ones 
already in the catalog, to be considered, it may be 
well to remind our readers that there is more than 
one way to appraise a recording. Taking it from 
the listener's standpoint, there are several ways, we 
have found, that a listener listens to a recording. 
Some of them go through the music with a score 
in hand; some of them who know the music or know 
how they think the music should sound from having 
heard previous performances measure a record' 
ing by this standard — with cheers and approval when 
it coincides and with distaste when it does not. 
Others sit back and imagine they are in a concert 
hall — possibly placing themselves in a good seat of 
a concert hall they frequent — and listen to a record' 
ing as a concert hall experience. This last method 
of listening is indeed a good one, probably the most 
enjoyable, and probably the fairest from a critical 
viewpoint. It must be admitted that what we enjoy 
in an actual performance is sometimes considered 

overwrought when heard on a recording. We often 
want a recording to be a nearly ideal statement of 
the score, one that will bear repeated hearings with' 
out becoming annoying. But how often do we hear 
the same work in a concert hall during one season? 

For those who will listen to a recording of the 
Eroica in their home three or four times a year, we 
would say that the most invigorating performance is 
the new Horenstein. This man is highly regarded in 
European concert halls for his reading of the work 
and it is easy to understand why. Here is a deeply 
felt and highly dramatic interpretation of the score. 
Horenstein does no malice to the score, he is always 
in good taste, but he has a fervor and conviction 
which are compelling, to say the least. He favors 
slower tempi, not for the sake of being arbitrary, but 
because they are the result of his feeling for the 
music. The reproduction of this disc is superb in 
every detail and the orchestra plays beautifully. It 
was necessary, unfortunately, to break the second 
movement between sides. Never before had a sym' 
phony been written on so vast an architectural design 
or with so much dramatic and emotional intensity 
as the Eroica. It was an epoch'marking milestone 
and remains today a formidable work; it deserves a 
reading of imposing dimensions which conveys this 
awareness and the awe of the interpreting conductor. 

For those who want this work laid on the line 
in the traditional manner, Leinsdorf is easily the 
best of all available recordings — and there are about 
seventeen available. His is the Toscanini'type of 
reading, with a bit more warmth, suppleness, and 
curve, and far better reproduction. Leinsdorf is 
indeed admirable in every respect, and for those 
who find Horenstein not to their liking, Leinsdorf 
will be their choice. 

As for the others, Furtwangler has many good 
moments, but there are enough vagaries and distaste' 
ful individual touches to spoil what may have been 
a good concert hall performance. Scherchen is 
straightforward and does a generally good job, yet 
it is curiously laking in profile — not as good as 
Leinsdorf — and his disc suffers from ugly and stri' 
dent reproduction, sounds like smashing glass. This 
type of fidelity may be high and wide, but it is not 

Beecham 's recording is the most fascinating of 
them all. For a student, it will prove useful, for 
he clearly demonstrates how every bar of the music 
was written, with a clarity and logic that are a 
revelation. His woodwinds play with their usual ex' 
ceptional beauty, and his distinction of dynamics, 
particularly between very soft, soft, and moderately 
soft, is remarkable. The over'all impression does not, 
however, convey the large proportions of the Eroica 

Our comparison recordings were the Toscanini 
and Walter, because there is a great preference for 
the Toscanini (*V'LM'1042) and because we have 

* Indicates LP 88 y rpm. 
g Indicate* 45 rpm. 




The Nm R ecords 


always preferred Walter in this work (*C'ML'4228). 
Of all seven considered, Toscanini suffers the most 
feeble reproduction — this work should be rerecorded 
with better fidelity. Walter stands up well in repro' 
duction with any of them, and we still like his 
reading the best, except possibly for the Horenstein. 

One final interesting point: we checked the tempo, 
with a metronome, of all seven recordings of the 
third movement Scherzo. Our score is marked 116; 
this is how each takes it: Beecham 100, Horenstein 
104, Walter 112, Scherchen 112, Furtwangler 116, 
Leinsdorf 120, Toscanini 132. Seven renowned con' 
ductors with different ideas. S. 

The LP cornucopia spilled over with a vengeance 
this month and deposited five new recordings of 
Beethoven’s Symphony >fo. 3 in E'flat on the dealer’s 

Fortunately, insofar as space is concerned, two 
of the five may be dismissed somewhat summarily. 
Furtwangler’s performance on Urania is a mannered 
one, full of erratic tempi and too individual concepts. 
The recording is also nothing to get excited about. 
Horenstein’s effort on Vox is a reasonable one but 
suffers from distorted sound — the tympani sound 
like pistol shots and, in short, the record is not agree' 
able to the ear. Vox also achieves the distinction 
of being the only one of the five to break the slow 
movement in the middle, placing part on one side 
of the disc, the remainder on the other. 

Of the other three, the Scherchen and Beecham 
recordings have some merit. Herman Scherchen, on 
Westminster, enjoys about the best sound. His read' 
ing of the score is a tempestuous one; he heightens 
many of the dramatic moments but never indulges 
in eccentricities or bad taste. His tempi are fairly 
uniform, and it is a fiery Eroica that emerges. Sir 
Thomas’ performance is, as one can readily imagine, 
just the opposite. Sir Thomas has obviously made 
up his mind that there will be no nonsense about 
the Eroica. It is a foursquare job, with little imagi' 
nation, that might be easy to live with — if a little 
on the pedantic side. 

The surprise, for those who may not have followed 
his work and career, comes with Erich Leinsdorf’s 
truly superb reading. Here is a performance that 
strikes a happy medium between Scherchen’s and 
Beecham’s being more dramatic than the latter’s, 
less so than the former's. For this reviewer’s taste 
it is welbnigh perfect, being preferable to the “stand' 
ard’’ Toscanini version. It is a straightforward read' 
ing, with perhaps more than ordinary emphasis on 
the brass (which is all to the good), and is further 
characterized by excellent phrasing, careful attention 
to detail and superior orchestral playing and re' 

An additional advantage accruing to the purchaser 
of the Columbia Entre record is the very modest 

price — truly one of the best record buys of this or 
any year. W . 

Mendelssohn: Symphony No. 4 in A, Op. 90 
(“Italian’’). One side, and Beethoven: Symphony 
No. 8 in F, Op. 93. Royal Philharmonic Orchestra 
conducted by Sir Thomas Beecham. M2" disc 
(*C'ML'4681) $5.45. 

Mendelssohn: Symphony No. 4 in A, Op. 90 
(“Italian’’). Vienna Symphony Orchestra con' 
ducted by Otto Klemperer. One side, and Schu- 
bert: Symphony No. 4 in C minor (“Tragic”). 
Lamoureux Orchestra conducted by Otto Klem' 
perer. M2" disc (*VX'PL'7860) $5.95. 

What a conductor can do to (or for) a score is 
something that is a never ending source of amaze' 
ment. Just about every conductor has performed 
the Mendelssohn “Italian” Symphony, and it is now 
considered in that peculiar fringe of lighter music 
which excludes it from the greater masterworks. 
Most conductors perform the work, especially the 
end movements, as fast as they can execute the 
music — which is generally faster than their orchestras 
can execute all the notes. For the first time in our 
memory, which includes countless performances and 
recordings of the well worn “Italian,” we have just 
heard all the notes in the score, and our profound 
thanks to Beecham for this feat. Beecham’s whole 
approach to this score is radically different from any 
other we have heard. His evaluation of the music 
is honest and faithful to the composer's writing — 
not an approach that sets out to display the technical 
prowess of his orchestra. Beecham’s tempo in the 
first movement is about 126 (for a dotted quarter); 
Klemperer's tempo runs between 138 and 144; and 
the celebrated Koussevitzky recording, while highly 
erratic, hovers around 160. Hearing Koussevitzky 
after Beecham is pathetic, if not disgraceful (a dollar 
for every note left out and a dime for every note 
unduly slightly by Koussevitzky would provide a 
handsome retirement fund for a record reviewer). 
As with the first movement, so with the others, in' 
eluding a remarkable clarifying of the final Salta' 
rello. Even the third movement acquires a new lease 
on life by Beecham, who treats it, properly, as a 
minuet. The net result of the whole effort is a 
symphony of remarkable construction and greater 
beauty than most folks have ever heard in this work. 
The general effect is pastoral, and in Beecham’s 
treatment, this work is hardly inferior to Beethoven’s 
“Pastoral” Symphony. You must hear it to believe 
it. The coupling is a superb reading of the Beethoven 
Eighth; both works are clothed in magnificent repro' 
duction, with the “Italian” deriving great benefit 
from the clarity of the recording. 

Klemperer is a much adn^ired conductor by this 
listener, but his “Italian” hews to a tradition ex' 
posed by Beecham as completely phony, nor is the 
Klemperer orchestra in the same league with 
Beecham’s, nor is the reproduction. Klemperer’s 



Indicate i IiP 88^ rptv 
0 Indicate* 48 rpuv. 


The N ew R ecords 1953 

“Tragic" Symphony is good, but so is van Beinum's 
on London (*L'LL'736) with better reproduction. 


Mozart: Deutsche Tanze Nos. 1-5, K. 600. And 
Mozart: Adagio for English Horn, 2 Violins 
and Violoncello. One side, and Mozart: Adagio 
in B, K. 440a. London Baroque Ensemble con* 
ducted by Karl Haas. HO" disc (*D'DL'4055) 

Haydn: St. Anthony Divertimento. One side, and 
Haydn: Divertimento in G. London Baroque 
Ensemble conducted by Karl Haas. MO" disc 
(*D'DL'4066) $2.50. 

The London Baroque Ensemble under the direc' 
tion of Karl Haas has specialized in music of the 
Baroque Period for a number of years and has made 
many very successful recordings. The two LP discs 
listed above are well up to the high standard set 
by this unique organization. Baroque Music is some- 
thing that one likes or he doesn’t, and so a word 
of caution is in order. If you are not familiar with 
this style of rhythm and melody, better try one of 
these records before you buy any. 

Berlioz: Romeo et Juliette (complete). (Sung in 
French). Margaret Roggero (contralto), Leslie 
Chabay (tenor), Yi'Kwei'Sze (bass), the Harvard 
Glee Club and the Radcliffe Choral Society d L 
rected by G. Wallace Woodworth, and the Boston 
Symphony Orchestra conducted by Charles 
Munch. 8'7" discs in box (0V'WDM'6O11) 
$10.29. M2" discs in box (*V'LM'6011) $11.44. 
“No one, I suppose, will misunderstand the genre 
to which this work belongs . . Thus wrote 
Berlioz, tongue in cheek, in the preface to his Opus 
17, the dramatic symphony Romeo et Juliette. Of 
course, misunderstandings have been rife since the 
work was first performed. This is neither the time 
nor the place to go into a discussion of the technical 
aspects of Berlioz’ extraordinarily original and vivid 
conception. Suffice it to say that this magnificent 
music has two programs, both formal. The reader or 
owner of the discs is referred to Jacques Barzun’s 
exceptionally informative notes that accompany the 
set, or, even better, to his biography of the com' 
poser, Berlioz and the Romantic Century. 

The performance that has been captured on these 
two discs is one of unparalleled artistic and technical 
merit. Charles Munch, his soloists, chorus and or' 
chestra play and sing with inspired insight and 
Berlioz’ magical score has the success it deserves. 
Hearing the work in its entirety is a tremendous 
experience. Portions like the §ueen Mab Scherzo 
and the Concert et Bal, taken out of context, still 
sound wonderful; but the effect when heard as part 
of the whole is virtually indescribable. 

The Boston Symphony Orchestra has never 
sounded better. Its innate virtuosity serves it well 
in this complex music; and the superb brass section, 

the wonderful winds and strings can only be de' 
scribed as magnificent! The soloists sing with feeling 
and expression doing justice to the composer’s ideas. 
Miss Roggero’s work in the Prologue is excellent 
and Leslie Chabay sings the Scherzetto (also in the 
Prologue) in a distinguished fashion. Yi'Kwei'Sze, 
as le Pere Laurence, has the most difficult task and 
comes through with flying colors. His is a great 
voice and, even more than the other singers, seems 
to get inside the music. It is a vocally compelling 
and artistically superior performance. 

RCA Victor’s engineers. Pulley and Layton, have 
achieved the finest sound to date on records; and 
the set, in this reviewer’s opinion represents the 
highest peak yet reached by the phonograph, both 
from a musical and from a technical viewpoint. 


Respighi: The Pines of Rome. One side, and 
Respighi: The Fountains of Rome. NBC Sym' 
phony Orchestra conducted by Arturo Toscanini. 
4'7" discs in box (0V'WDM'1768) $5.14. M2" 
discs in album (*V'LM'1768) $5.72. 
Westminster, Mercury and RCA Victor seem to 
be playing a sort of musical “Can You Top This?” 
with Respighi’s Pines and Fountains of Rome. West' 
minster started it all (TNR Mar. ’53) with a mag' 
nificent recording and pretty fair performance; then 
came Mercury’s effort (TNR June ’53) with Dorati 
in another fine, if somewhat different approach both 
technically and musically; and now RCA has urn 
leashed Arturo Toscanini and the NBC Orchestra 
on Respighi's scores, and he and the engineers have, 
literally, a Roman Holiday. 

There can be no gainsaying the fact Toscanini is 
in his element in this music. All the theatricallity 
and, in many instances, the genuine poetry of the 
pieces, are realized in masterly fashion. If ever 
music could be said to sound better than it really 
is (and one sometimes doubts whether this is pos' 
sible), this is an outstanding instance. 

Now there is another aspect of this issue that, 
when taken into consideration with some other recent 
releases by the same company, offers some food for 
thought. It seems to this reviewer (and to several 
other persons with whom he has spoken) that RCA 
Victor is delibrately embarking on a campaign to 
recapture the prestige that it once had in the field 
of good music. The old magic of “Red Seal’’ became 
dimmed in the last decade or so, but a series of 
issues such as make up the September release will 
go a long way to re'establish this pioneer company 
as a leader in the field. Just consider what it has 
done with this “album.” In addition to technical 
accomplishments of the very highest order RCA has 
included twelve superb photographs of pines and 
fountains in Rome, each measuring 12"xl2" and one 
spread of 12"x24". An informative and appreciative 
running commentary is supplied by Vincent Sheehan. 
Truthfully, this writer has been an avid phonophile 

• Indicates LP 88 ^ rpm. 
0 Indicates 45 rpm. 




T he Nm Records 


for over twenty'five years, but he has never seen or 
heard anything to equal the sheer opulence of this 
set. The only comparable affairs, and in a more 
limited field are the Haydn Society’s Orfeo and 
Clavier Ubung. 

What will owners of either of the previous record' 
ings of this music do? There are two courses of 
action — close eyes and ears to this new release and 
be satisfied with what you have; or see and hear the 
new one and buy it. There seems to be no middle 
ground. W. 

Moussorgsky — arr. Ravel: Pictures at an Exhibition. 

One side, and Stravinsky: L’Oiseau de Feu. 

Philadelphia Orchestra conducted by Eugene Or' 

mandy. M2" disc (*C'ML'4700) $5.45. 

The pairing of these two works on one LP disc 
gives good value to the customer, but it also serves 
as a double'barrelled showpiece for the Philadelphia 
Orchestra, for both of these works are virtuoso 
vehicles for any symphony orchestra. That the Phila' 
delphians do themselves proud is no surprise. Their 
technical finish and their tonal splendor in each work 
could well be the envy of any other conductor and 
orchestra in existence. The only room for improve' 
ment would be in the opening trumpet solo passages 
of the Pictures, which offers a rather unpleasant style 
and tone of trumpet playing. That is, however, a 
minor matter which is soon out of the way. Or' 
mandy’s reading of both these pieces is strictly in 
the supercharged, virtuosic, brilliant manner. This 
is particularly true of the Firebird Suite, which 
receives what we commonly call a concert perform' 
ance as distinguished from a ballet performance style 
of interpretation. The admirable Dorati — Minne' 
apolis (*ME'MG' 50004) is quite in the ballet tradi' 
tion, with more measured tempi and less interpretive 
freedom. Which style you prefer will determine 
which disc you will enjoy more. Our preference tends 
toward a concert'type reading and so towards Or' 
mandy, whose first'chair men play with surpassing 
beauty. Where Dorati’s disc is coupled with the 
Borodin Symphony [o. 2, Ormandy has a more 
popular coupling in the Pictures. 

Ormandy’s performance of the Ravel orchestra' 
tion of the Pictures at an Exhibition is a workman' 
like job which abounds in gorgeous orchestral sounds 
and magnificent fortissimo effects. Columbia has 
gotten about every decibel of sound in the grooves 
that existing equipment could possibly reproduce. 
This disc may give tracking trouble on some machines 
(at the very end of the side). It is an heroic effort 
which gives competitive versions quite a run for 
their money. Kubelik and Chicago (*ME'MG' 
50000) have recently been considered tops in Pic' 
tures ; but their performance occupies both sides of 
a 12" disc. Kubelik's reading seems to be more 
carefully thought out than Ormandy’s. Another 
Pictures is coupled with Tchaikovsky’s Romeo and 
Juliet, conducted by Guido Cantelli (NBC and Phil' 

harmonia Orchestras respectively) (*V'LM'1719). 
This disc has never appealed to us. For all around 
effectiveness, performance, recording and coupling, 
we would recommend Ormandy. S. 

Prokofiev: Symphony No. 5 in B, Op. 100. Danish 
State Radio Symphony Orchestra conducted by 
Eric Tuxen, with Peter Ase (piano). M2" disc 
(*L'LL'672) $5.95. 

The Fifth Symphony of Prokofiev was the first 
he wrote as a Soviet citizen. He had left his native 
country in his early twenties, preferring the free 
artistic life of the western world to the state'con' 
trolled artistic policy of the U.S.S.R. What prompted 
his return to the U.S.S.R. and subsequent adoption 
of Soviet citizenship in his early forties remains a 
moot point. Some say it was an awakening political 
conscience; others suggest that he realized that only 
by being firmly rooted in its own soil could his 
music find a settled style and serious purpose. There 
is no title or message in the Fifth. After composing 
Alexander J^levs\ y, Prokofiev was probably ready to 
indulge in a little pure symphonic thinking. The 
result is a work which is considered one of his 
greatest. While generally serious, there are many 
touches, as the music progresses, that are typically 
Prokofiev, and rather mischievous and humorous. 

The present disc is the third recording to reach 
LP’s. Rodzinski (*C'ML'4037) first recorded the 
work, followed by Koussevitzky (*V'LM'1045). 
Until now, Rodzinski’s disc was the choice. As both 
the previous versions were made several years ago, 
the present recording would naturally have the edge 
in matters of reproduction. London has supplied 
some of its best quality, to make it a closed issue 
as far as reproduction is concerned. As for the per' 
formance, Rodzinski had many moments that com' 
pete vigorously with Eric Tuxen; Koussevitzky was 
rather too fussy and his disc is not as good as either 
of the others. Taking the disc as a whole, we would 
easily recommend the new Tuxen effort, as a sincere 
reading and a good reproduction. The “B” side of 
our copy had too much surface noise, so check your 
copy first — a good test spot is at the beginning of 
the last movement. S. 

Sibelius: Symphony No. 5 in E-flat, Op. 82. One 
side, and Sibelius: Symphony No. 6 in D minor, 

Op. 104. Stockholm Radio Symphony Orchestra 
conducted by Sixten Ehrling. M2" disc (*ME' 
MG'10142) $4.85. 

This disc is part of a series of five which contain 
all seven Sibelius symphonies. The present disc con* 
tains the first LP recording of the Sixth. As with 
the other performances, these two are splendid read' 
ings. Sixten Ehrling is Sweden’s most brilliant young 
conductor, and he is thoroughly schooled in the 
traditions regarding interpretation of Sibelius sym' 
phonies. The Stockholm Radio Orchestra is con' 
sidered one of the three finest in Scandinavia; their 



Indicates LP 88 J^ rpm 
0 Indicates 45 rpm. 


The New R ecords 1953 

previous recordings have been well received. Mer- 
cury's reproduction is of today s best, which makes 
this a highly desirable disc. We can recommend it 
without reservation, and believe it will be a long 
time before any other LP's offer finer recordings of 
these Sibelius symphonies. These two coupled on 
one disc at the price asked is also a good value. 

Other than the First and Second, the Fifth is one 
of the most popular of Sibelius' symphonies. The 
composer claims any programmatic content is strictly 
secondary to the directly symphonic vein of the 
work; however, the annotators have written much 
about the probable programmatic content. The work 
was written in mighty troubled times for Finland, 
as well as for the composer, who was beset with 
physical difficulties. The Bolsheviks came to Jar- 
venpaa, with the Germans on their heels. During 
the war, many of Sibelius' neighbors were murdered; 
he was a prisoner on his own grounds. After finag- 
ling his way to Helsinki, where he suffered many 
privations, the liberating Germans brought an end 
to this sort of thing and Sibelius returned to his 
Fifth Symphony, as well as to sketching his Sixth 
and Seventh. The third and final version of the Fifth 
was completed in the autumn of 1919; the Sixth did 
not follow until February of 1923. Whatever the 
circumstances, this pair of symphonies will remain 
among the truly great creations in this form. S. 

Beethoven: Symphony No. 9 in D minor, Op. 125 

(“Choral"). Philharmonic'Sym phony Orchestra 
of New York conducted by Bruno Walter, with 
Irma Gonzalez (soprano), Elena Nikolaidi (con- 
tralto), Raoul Jobin (tenor), Mack Harrell (barF 
tone), and the Westminster Choir directed by 
John Finley Williamson. Three sides, and 
Beethoven: Symphony No. 8 in F, Op. 93. Phil' 
harmonic'Symphony Orchestra of New York con' 
ducted by Bruno Walter. 2-12" discs in album 
(*C-SL'186) $12.11. 

In the autumn of 1949 Columbia released Bruno 
Walter's recording of Beethoven 7<[inth with the 
Philharmonic'Symphony of New York, the West' 
minster Choir, and the soloists listed above. The 
critics for the most part praised Walter's reading 
very highly but were very much disappointed in the 
vocal section of the final movement. Despite this 
unfavorable criticism this version was favored by 
many music lovers, and it has been a steady seller 
through the years. Columbia has recently rerecorded 
the final movement with the same soloists and chorus 
with excellent results and this superior recording is 
included in the set listed above. Also the fourth side 
of the present set contains a fine recording of 
Beethoven Symphony T^o. 8 in F instead of Brahms’ 
Song of Destiny, which was the filler for the earlier 
set. This is a marked improvement because the critics 
were as one in stating that the recording of the 
Brahms item was nothing of which anyone could be 
particularly proud. 

IMPORTANT NOTE: Columbia has made a 
most unusual offer to those persons who have pur' 
chased the earlier set (*C-SL'156). If they will 
return the second record (*C-ML-4201) to Columbia 
Records, Inc., Dept. P, 1473 Barnum Ave., Bridge' 
port 8, Conn., they will receive without charge a 
copy of *C'ML'4697 containing the rerecorded 
choral movement. Please note that the older record 
must be returned directly to Columbia; do not take 
it to your local dealer, for this transfer must be 
made between the original purchaser and Columbia 
Records, Inc., at Bridgeport. 

Mozart: Symphony No. 40 in G minor, K. 550. 
One side, and Mozart: Symphony No. 35 in D, 
K. 385 (“Haffner”). Philharmonic'Symphony Or' 
chestra of New York conducted by Bruno Walter. 
M2" disc (*C-ML-4693) $5.45. 

We believe that most music lovers will think that 
Bruno Walter’s reading of these two popular Mozart 
symphonies are just about tops. He gives them 
everything he has including his loving care. The 
only possible criticism we can imagine is that in 
using such a large orchestra the results may seem 
to be a bit bigger than a Mozart symphony should 
really be. 

Clair de Lune and other Popular Favorites. 

Andre Kostelanetz and his Orchestra. 1-12" disc 
(*C'ML-4692) $5.45. 

CONTENTS: Clair de lune (Debussy); A Musi' 
cal Snuff 'Box (Liadov); Playing Around (Stix — arr. 
Ormandy); Barber of Seville — Overture (Rossini); 
The Little Train of the Caipira (No. 4 of “Bachianas 
Brasileiras No. 2”) (Villa'Lobos) ; Pavane pour une 
infante defunte (Ravel); Der Rosen\avalier — 
Waltzes (R. Strauss). 

This LP disc is for Kostelanetz fans. The Maestro 
has selected some staples from the classical and near' 
classical repertory, some of which, such as A Musical 
Snuff'Box and Playing Around, often find them' 
selves on children’s symphony orchestra programs. 
He presents them in his usual ingratiating style. 

Debussy: Rhapsody for Saxophone and Orchestra. 

Jules de Vries (saxophone) with the Frankenland 
State Symphony Orchestra conducted by Erich 
Kloss. And Debussy: Clair de lune. Frankenland 
State Symphony Orchestra conducted by Erich 
Kloss. One side, and Debussy: Fantasy for Piano 
and Orchestra. Helmut Schultes (piano) with the 
Frankenland State Symphony Orchestra conducted 
by Erich Kloss. M2" disc (*LYR'LL'38) $5.95. 
First LP recordings of Debussy’s Rhapsody for 
Saxophone and Orchestra, a work he wrote rather 
unenthusiastically on commission during the period 
of his maturity, and the Fantasy for Piano and Or' 
chestra, an early work, with a nicely revitalized 
reading of Clair de lune, which one suspects has 
been thrown in just to show how it ought really to 

• Indicates LP 8S^ rpm 
0 Indicate* 45 rpm 




The Records 


be done, are combined on one of the most rewarding 
Debussy LP’s to have yet occurred. Performances, 
throughout, are in the finest impressionistic tradition; 
present, also, is a fidelity of reproduction which, as 
in the case of all new Lyrichord releases, is except 
tional. C. 

Tchaikovsky: Capriccio Italien, Op. 45. One side, 
and Tchaikovsky: Suite No. 3 in G, Op. 55 — 

Theme and Variations. L’Orchestre de la Societe 
des Concerts du Conservatoire de Paris conducted 
by Carl Schuricht. IT 2" disc (*L-LL-640) $5.95. 
A number of other LP recordings are available of 
these well-known Tchaikovsky selections. The inter' 
est in the present disc lies in the fact that the 
orchestra is conducted by the distinguished and ven- 
erable Carl Schuricht who, despite his 73 years, is 
one of the most active and sought-after conductors 
in Europe. Some American music lovers may re- 
member that Herr Schuricht visited the United States 
in 1929 when he filled a number of engagements 
with the St. Louis Symphony. 

Mendelssohn: A Midsummer Night’s Dream — In- 
cidental Music. One side, and Schubert: Rosa- 
munde — Incidental Music. Concertgebouw Orches- 
tra of Amsterdam conducted by Eduard van 
Beinum. 1-12" disc (*L-LL-622) $5.95. 

We know that there are many versions of this 
popular Mendelssohn and Schubert music already 
available on LP discs; but because of the excellence 
of BeinunTs performances and the fidelity of these 
London recordings we cannot help welcoming this 
new release. If you are thinking of adding these 
selections to your library you should at least listen 
to the present versions. 

Wagner: Gotterdammerung — Siegfried’s Rhine 
Journey. One side, and Wagner: Gotterdammer- 
ung — Funeral March. And Wagner: Die 
Walktire — Magic Fire Music. Wurttemberg State 
Orchestra (Stuttgart) conducted by Ferdinand 
Leitner. 1-10" disc (*D-DL-4072) $2.50. 

For the Wagner fans this little LP disc is a mar- 
velous value. It contains three very popular selec- 
tions, and they have been splendidly played and 
faithfully recorded. 

Beethoven: Concerto No. 3 in C minor, Op. 37. 

Jose Iturbi (piano) conducting the RCA Victor 
Orchestra. 4-7" discs in box (0V-WDM-1759) 
$5.14. 1-12" disc (*V-LM-1759) $5.72. 

In the April 1952 TNR, in reviewing this work 
played by Lili Kraus with the Vienna Symphony 
under Moralt (*VX-PL-7270), we said: “A com- 
plete hearing of this recording plus a number of 
comparisons (in part) with several other LP discs 

of the work leaves us with the impression that this 
is quite the finest recording of the work we ever 
heard.” That statement and the superlatives which 
followed can be repeated again, for we still think 
the Kraus disc is the best of the nine versions now 
listed. Several others are good, but none of them 
have the same measure of that intangible something 
which makes the Kraus so much more of a superb 
listening experience. 

Iturbi plays this work with his usual clean, brisk, 
technically accurate style. It cannot be said that 
he does malice to the score, and there may be some 
who think his playing is a good statement of the 
Beethoven idiom. But to play a recording such as 
the Kraus side by side with the Iturbi will reveal a 
style and a subtlety of playing which is far more 
admirable. The matter of orchestral accompaniment 
is vastly on the side of the Kraus recording, where 
you hear a seasoned and resilient orchestra playing 
noticeably more attractively than does the RCA 
Orchestra under soloist Iturbi. RCA has supplied 
very forward reproduction, clear and fruitful; but 
even this seems to militate against the performance, 
for in the second movement the piano has no per- 
spective; it is just too bold and close. Kraus’ piano 
is more distant and the result is a more sympathetic 
tone and consequently a more satisfying statement 
of the expressive melody. Lili Kraus and Moralt 
both approach the rondo finale in a more relaxed 
way and in a less cut-and-dried fashion. The more 
we listened to the Kraus recording the more we 
were convinced of its superiority. S. 

Castelnuovo-Tedesco: Concerto for Guitar and 

Orchestra. Andres Segovia (guitar) with the New 

London Orchestra conducted by Alec Sherman. 

One side, and Guitar Recital. Andres Segovia 

(guitar). 1-12" disc (*C-ML-4732) $5.45. 

CONTENTS: Two Studies (Villa-Lobos); A rada 
and Danza (Torroba — arr. Segovia); Fandanguillo 
(Turina — arr. Segovia); Rondo on a Theme by 
Fernando Sor (Ponce — arr. Segovia); Sonatina Mer- 
idional (Ponce — arr. Segovia). 

As we have written before, a reviewer’s life is 
not a happy one and this is largely so because he 
must often listen to the tenth or twelfth recorded 
version of a set-piece in the repertory that has already 
been highly satisfactorily recorded several times 
previously. However, every once in a blue moon, 
something new, interesting and delightful comes 
along and peps us up no end. Such an item is the 
very lovely Concerto for Guitar and Orchestra that 
Castelnuovo-Tedesco composed especially for the 
renowned guitarist, Andres Segovia. It is certainly 
new to us, although it was written in 1939 shortly 
before the composer sadly ^left his native Italy; it 
is interesting because of the fine balance that is 
maintained between the solo instrument and the 
chamber orchestra that supplies the accompaniment; 
also the pleasing melodies make it truly delightful. 



Indicates LP 83^ rpns 


The R ecords 


For those who have within their hearts a love for 
simplicity and beauty this little work should hold a 
particular charm. We enjoyed it thoroughly and do 
not hesitate to recommend it to all discerning music 

The second side of this LP disc contains a short 
recital of solo numbers which have often appeared 
on the programs of Segovia's many successful con' 
cert appearances. R. 


Mozart: Divertimento in E-flat, K. 563. Jean 
Pougnet (violin), Frederick Riddle (viola) and 
Anthony Pini (violoncello). IT 2" disc (*WEST' 
WL'5191) $5.95. 

Mozart: Trio No. 3 in E, K. 542. One side, and 
Mozart: Trio No. 5 in G, K. 564. Agi Jambor 
(piano), Victor Aitay (violin) and Janos Starker 
(violoncello). M2" disc (*PE'SPLP'521) $5.95. 
Mozart: Quartet in F, K. 370. Harold Gomberg 
(oboe), Felix Galimar (violin), Gabriel Banat 
(viola) and Alexander Kouguell (violoncello). 
One side, and Telemann: Sonata in C minor. 
And Telemann: Partita No. 5 in E minor. Harold 
Gomberg (oboe) and Claude Jean Chiasson 
(harpsichord). M2" disc (*D'DL'9618) $5.85. 
Mozart: Quartet No. 8 in F, K. 168. One side, and 
Mozart: Quartet No. 17 in B-flat, K. 458. Griller 
String Quartet. IT 2" disc (*L'LL'658) $5.95. 
Mozart: Quartet No. 6 in B-flat, K. 159. One side, 
and Haydn: Quartet in F, Op. 3, No. 5. Griller 
String Quartet. 1T0" disc (*L'LS'656) $4.95. 
Recently a vast number of chamber music records 
have arrived at the studio; among them are the five 
listed above. Most of this music has already been 
satisfactorily recorded. However, there are two items 
in the group that are new to the LP lists and are 
of more than passing interest. They are the very 
excellent recordings of Mozart's Quartets T^o. 6 in 
B'flat, K. IS 9 and Ho. 8 in F, K. 168. 

Hindemith: Sonata for Flute and Piano. And 
Guarnieri: Sonatina for Flute and Piano. One 
side, and Milhaud: Sonatina for Flute and Piano. 
Schaposchnikow: Sonata for Flute and Harp. 

Sebastian Caratelli (flute), Gordon Manley (piano) 
and Ann Sacchi (harp). M2" disc (*NEW 
RECORDS NRLP'406) $5.95. 

The intellectual intricacies abounding through 
these four Sonatas certainly deserve a more detailed 
attention than we could give them here. Suffice it 
then to say that, after a onediearing acquaintance' 
ship, they all appear to be proficiently conceived, 
each in itself unique; and the four together will 
prove a handsome addition to any flute devotee's 

Sebastian Caratelli needs little introduction to 
those who know their flutists; for those who do not, 

he is a gentleman who plays with subtlety, maturity 
and persuasion. His co'performers do not fall below 
his standards in any way, and all combine to make 
a vital addition to the small selection of flute music 
on records. It may interest some, also, to know that 
the largest selection of flute music on LP has been 
issued by New Records, Inc. (not connected with this 
publication). C. 

Beethoven: Trio in D, Op. 70, No. 1 (“Ghost"). 
One side, and Beethoven: Trio in E-flat, Op. 70, 
No. 2. Albeneri Trio: Erich Itor Kahn (piano), 
Giorgio Ciompi (violin) and Benar Heifets 
(violoncello). IT 2" disc (*ME'MGT0139) $4.85. 
Beethoven: Trio in G, Op. 9, No. 1 . One side, and 
Beethoven: Trio in D, Op. 9, No. 2. Jean 
Pougnet (violin), Frederick Riddle (viola) and 
Anthony Pini (violoncello). M2" disc (*WEST' 
WL'5198) $5.95. 

Beethoven: Quartet in D, Op. 18, No. 3. One side, 
and Beethoven: Quartet in C minor, Op. 18, 

No. 4. Barylli Quartet. M2" disc (*WEST'WL' 
5211) $5.95. 

Beethoven: Quintet in E-flat, Op. 16. Leopold Mitt' 
man (piano), Harry Schulman (oboe), David 
Weber (clarinet), Elias Carmen (bassoon) and 
Fred Klein (French horn). One side, and 
Beethoven: Quartet in E-flat, Op. 16. Leopold 
Mittman (piano), Arnold Eidus (violin), David 
Mankovitz (viola) and George Ricci (violoncello). 
M2" disc ( *STRAD'STR'6 16) $5.95. 

All of the Beethoven chamber music on the above 
four LP discs is already represented by adequate 
recordings in the present catalogs. We are therefore 
merely listing these releases so that our readers may 
be made aware of their availability. 

Schubert: Sonata in A minor (“Arpeggione"). One 
side, and Schumann: Fantasiestucks, Op. 73. And 
Schumann: (3) Romanzen, Op. 94. Maurice 
Gendron (violoncello) and Jean Fran^aix (piano). 
M2" disc (*L'LL'654) $5.95. 

Schubert: Sonata in A minor (“Arpeggione"). 
Enrico Mainardi (violoncello) and Guido A. 
Borciani (piano). 1 TO" disc (*D'DL'7539) $3.85. 
Now we have five recorded versions of Schubert’s 
Sonata in A minor for 'cello and piano, and who 
shall say which is the best? We were very favorably 
impressed with the London recording by Maurice 
Gendron and Jean Fran?aix. 

Franck: Quintet in F minor. Hollywood String 
Quartet with Victor Aller (piano). IT 2" disc 
(*CLT>'8220) $5.70. 

On this LP disc the Hollywood String Quartet with 
Victor Aller at the piano gives a superb performance 
of Franck’s Quintet in F minor. The balance be' 
tween the piano and the quartet is ideal, and the 
reproduction is certainly of the best. We prefer this 
version to the London recording by the Chigi Quintet. 

• indicates LP 83 y 3 n>m 
^ Indicates 4.5 n>m. 


page e 


The Nm Records 



Wagner: Der fliegende Hollander (complete). 
(Sung in German). Annelies Kupper (soprano); 
Wolfgang Windgassen, Ernst Haflinger (tenors); 
Sieglinde Wagner (contralto); Josef Metternich 
(baritone); Josef Greindl (bass); RIAS Sym' 
phony Orchestra and Chorus conducted by Ferenc 
Fricsay. 3'12" discs in album (*D'DX'124) 

This is the second complete recording of Wagner’s 
Der fliegende Hollander. The other, an early issue 
by Mercury (TNR June ’50) is surpassed on all 
counts. The Flying Dutchman was first performed 
on 2 January 1843 at Dresden with Wagner con' 
ducting. Since that time, although subsequent 
operatic scores by others and even by Wagner him' 
self have made it seem “old'fashioned,’’ it has still 
retained a degree of popularity. 

Decca’s cast, under Ferenc Fricsay’s able direction, 
perform excellently. In the title role, Josef Metter' 
nich acquits himself in creditable fashion. One could 
imagine a more inspired characterization; neverthe' 
less Herr Metternich is always convincing, and his 
robust baritone is equal to all the demands he places 
on it. Daland, in the person of the ever reliable and 
always vocally excellent Josef Greindl, is a sterling 
portrayal. This column has commented before con' 
cerning his obvious gifts, and he uses them with 
intelligence in this performance. Erik is sung by 
the young Wolfgang Windgassen, and it is a 
superior job, being, along with Greindl’s Daland, 
vocally the best in the set. Ernst Haflinger, as the 
steersman, is neither good nor bad, only undistin' 
guished. His vocal equipment is limited. 

Annelies Kupper does well as Senta. Her singing 
of the ballad Traft ihr das Schiff is distinguished by 
a youthful voice and a genuine understanding of the 
role. These features carry through her whole per' 
formance. Sieglende Wagner’s Mary is an example 
of what a sincere artist can do with a minor role. 

The chorus, which plays an essential role in the 
proceedings, and the orchestra which is also all' 
important, sing and play with verve and intelligence. 
The score, about which a contemporary of Wagner’s 
complained that “the wind . . . blew out at you 
whenever you opened (it),’’ is made to sound like 
it was “born on the sea and still has its home on 
it’’ thanks to Fricsay’s earnest direction. 

The sound is good, and mention must be made of 
the fine booklet Decca has supplied that includes an 
exhaustive analysis of the opera by Ernest Newman, 
a note on the opera by Louis Untermeyer, and a 
fine new translation of the libretto. There are also 
illustrations, both pictorial and musical that, com' 
bined with its many other merits, make the album 
a desirable one. W. 

Verdi: Otello (complete). (Sung in Italian). Herva 
Nelli, Nan Merriman (sopranos); Ramon Vinay 
(tenor); Giuseppe Valdengo (baritone); mixed 
chorus directed by Peter Wilhousky; boys’ chorus 
directed by Eduardo Petri; and NBC Symphony 
Orchestra conducted by Arturo Toscanini. 12'7" 
discs in box (0V'WDM'61O7) $14.89. M2" 
discs in box (*V'LM'6107) $17.16. 

Otello is one of those landmarks of the lyric 
theatre that seldom receives a performance that does 
justice to Verdi’s great conception. Some of the 
difficulty nowadays lies in being unable to obtain 
the services of a capable tenor. A strong hand at 
the orchestral helm is also required. Next in im' 
portance are a baritone and soprano who can realize 
the possibilities of Iago and Desdemona (no small 

The present recording, made at the broadcasts of 
December 6th and 13th, 1947, does not have a good 
tenor. Ramon Vinay’s voice is unmusical to begin 
with, and he screams his way through the opera in 
a manner that is most unsatisfactory to this reviewer. 
Above an “A” his voice acquires a wobble that is 
decidedly unpleasant. It is to his credit that he tries, 
but his heroics are not based on any genuine under' 
standing of the role. His later recording of some 
of this music for Columbia (TNR May ’52) is a 
little better. Valdengo is a pretty good Iago but 
he does not have too much voice. He is, however, 
superior to his counterpart in the complete Urania 
set. His conception of the role is good and his type 
of baritone (i.e. a genuine baritone, not one of the 
Anglo'Saxon or Nordic bass'baritones so popular 
these days) is musically suited to the part. Herva 
Nelli is an excellent Desdemona whose fine lyrico' 
dramatic soprano is always handled with intelligence, 
both dramatically and musically. The minor roles are 
in minor hands. 

The real stars of the performance are Arturo 
Toscanini and his NBC Orchestra. The orchestral 
music has never sounded so thrilling, and it points 
up the great shame that a more competent Otello 
could not have been engaged. And yet, in spite of 
the many vocal and dramatic inadequacies, this re' 
cording stands as the best Otello on LP because of 
Toscanini. It is superior to the other complete 
recording on Urania (TNR May ’52) and to the 
excerpts on Columbia. 

RCA Victor’s engineers have done an amazing 
job in refurbishing the six'year'old tapes (or more 
likely, acetate discs), and the sound is very good. 
The packaging, in accordance with what seems to 
be RCA’s new policy (i.e. to regain its leadership 
in the record field) is thoughtful and intelligent for 
a libretto showing Italian text, English translation 
and Shakespearean source, notes on the opera and 
a comprehensive version of the story are all included. 




Indicates LP 83 n>m 

0 Indicate* 45 rotn 


The Nm Records 


Singers of the Golden Age (Vol. I). Emmy Destinn 
(soprano) with accompaniments. 2" 12" discs in 
album (^CLASSIC EDITIONS CE'7001) $11.90. 
CONTENTS: Aida — Ritorna vincitor; Cavalleria 
Rusticana — Voi lo sapete; Pagliacci — Balatella; Lo' 
hengrin — Du Armste; Lohengrin — Euch liiften; Bar' 
tered Bride — Marie's aria (Act I); 7 sjozze di Figaro 
— Porgi amor; Carmen — Seguidilla; Carmen — Chan* 
son boheme; Fliegende Hollander — Traft ihr das 
Schiff; Z auberflote — Ach, ich fiihl’s; M ignon- — 
Prayer; M adama Butterfly — Sai cos ebbe cuore; 
M adama Butterfly — Tu, tu, piccolo iddio; Freischutz 
— Wie nahte mir der Schlummer; Freischutz — Und 
ob die Wolke; Dalihor — Aria (Act II) (Smetana); 
Tannhauser — Dich teure Halle; T rovatore — D’amor 
sull'ali rosee; Faust — Air de bijoux; Alleluja (Hum" 
mel); Aus der ,, Hohelied ,> (Mendelssohn); Slova\a 
Pisen (Kovarovic); Robert der Teufel — Eh'ich die 
Normandie verlassen (Meyerbeer); Robert der Teufel 
— Geh' sprach sie zu mir; Russal\a — Aria (Act I); 
Damon (Stange). 

These discs contain twenty'seven recordings that 
were made in Europe in the early 1900’s, most of 
which were never made available generally in 
America. They are “antiques" with the surface noise 
that was inherent in recordings of that period. While 
the accompaniments are quite feeble, the superb 
voice of Emmy Destinn comes through with amazing 
fidelity — the art of this great dramatic soprano is 
truly present. Many of us who can remember the 
Metropolitan Opera prior to 1920 (Miss Destinn 
retired from the Metropolitan in that year) can 
recall her many outstanding performances with that 
organization. For us these recordings will bring 
back many thrilling memories, and for the younger 
generation they will provide an introduction to one 
of the greatest operatic artists of the present century. 

Leoncavallo: I Pagliacci (complete). (Sung in 
Italian). Victoria de los Angeles (soprano); Jussi 
Bjoerling (tenor); Leonard Warren, Robert Mer* 
rill (baritones); Robert Shaw Chorale directed by 
Robert Shaw; and the RCA Victor Orchestra con" 
ducted by Renato Cellini. Twelve sides, and Mas- 
cagni: Cavalleria Rusticana (complete). (Sung in 
Italian). Zinka Milanov (soprano); Carol Smith 
(contralto); Jussi Bjoerling (tenor); Robert Mer" 
rill (baritone); Robert Shaw Chorale directed by 
Robert Shaw; and the RCA Victor Orchestra con" 
ducted by Renato Cellini. 1 2"7" discs in box 
(0V"WDM"61O6) $14.89. M2" discs in box 
(*V"LM"6106) $17.16. 

Utilizing the same techniques and artistic con" 
science that made their previous domestic operatic 
recordings in this series ( Rigoletto , Carmen and II 
T rovatore ) so successful, RCA Victor now releases 
the operatic twins, Cavalleria Rusticana and I Pag' 
liacci. The casts are the best available to the com" 
pany and the issue must be accounted a success. 

In Cavalleria Rusticana the principals are Milanov, 
Bjoerling and Merrill. Milanov is a superb Santuzza, 
for she brings an air of credence to her delineation 
of the unhappy creature. Vocally, of course, her 
golden voice is more than equal to the demands of 
the part so her characterization, with Mascagni’s 
and Cellini’s help, emerges as three dimensional. 
Bjoerling is a vocally secure Turiddu, a little re' 
strained perhaps, but for continued listening this 
could readily be an asset. Robert Merrill is an 
adequate, if not sensational Alfio — the role is not a 
fat one, but he gives his one aria all he has. 

I Pagliacci is notable for the casting of Victoria 
de los Angeles in the role of Nedda. She sings the 
part for the first time here and her debut is a most 
successful one. Vocally, she has all the characteristics 
one associates with the part: she is sultry, scornful 
and passionate by turns and always convincing. Her 
voice, a soprano of uncommon range, is one of the 
finest to be heard today. Leonard Warren’s big voice 
is excellent for Tonio and his performance is con" 
sidered and uniformly good. Robert Merrill, sound" 
ing curiously like Warren, is a satisfactory Silvio. 
Jussi Bjoerling’s Canio is also a good conception 
and, like his Turiddu, a restrained one. He does, 
however, loosen up in the finale and the work closes 
with all the stops out. 

The Shaw Chorale sings with all its wonted per" 
fection and Renato Cellini’s direction is always sane 
and musical. The recording, the accompanying 
notes (by W. H. Auden, no less) and packaging 
are worthy of the highest praise. Previous recordings 
of these two war horses, notably Columbia’s and 
Cetra’s, are not in the same class technically and 
have little, if any, more to offer vocally. W. 

Beethoven: Fidelio — Abscheulicher, wo eilst du hin? 
(recit.); Komm Hoffnung (aria) (Act I). One 
side, and Weber: Oberon — Ozean, du Ungeheure! 
(recit.); Wolkenlos strahlt jetzt (aria) (Act II). 
(Sung in German). Christel Goltz (soprano) with 
the Bavarian State Orchestra conducted by Robert 
Heger. MO" disc (*D"DL"4058) $2.50. 

Mozart: Le Nozze di Figaro (excerpts). (Sung in 
Italian). Elfride Trotschel, Annelies Kupper 
(sopranos); Josef Greindl (bass); with orchestral 
accompaniments. 1"10" disc (*D"DL"4065) $2.50. 
CONTENTS: Non piu andrai (Act I); Venite 
inginocchiatevi (Act II); Porgi amor (Act III); 
Tutto e disposto (recit.), Aprite un po’ quegV occhi 
(aria) (Act IV). 

Two very fine and moderately priced discs appear 
on Decca’s lists this month. The first of them fea" 
tures Christel Goltz (who will be remembered as 
the excellent Salome in Strauss' opera of the same 
name recorded by Oceanic (*OCLP"302). Miss 
Goltz sings two of the most famous arias for dramatic 
soprano, Beethoven’s Abscheulicher, wo eilst du hin ? 
and Weber’s Ozean du Ungeheure ! and, although 
she has stiff competition from previous recordings 

• indicate* LP 83^ rpm. 
Indicates 45 rpm. 


PAGE 10 


1 he N ew Records 


(notably Flagstad’s 78 rpm discs) she comes through 
with flying colors. Her sense of style and her vocal' 
ism are equally sure, while the youthfulness of her 
voice adds an unexpected warmth and humanity 
to the, at times, formidable music. Somewhat distant 
but musically excellent orchestral accompaniments 
are supplied by the veteran Robert Heger and the 
Bavarian State Orchestra. 

The other disc, containing four arias from Mozart’s 
T^ozze di Figaro is a veritable treasure trove. Out' 
standing is Elfride Trotschel’s singing of Susanna's 
wonderful Venite inginocchiatevi. Here the essential 
youthfulness both of her voice and her nature make 
the sparkling music come to life exquisitely. It is 
doubtful whether the music has ever been sung on 
records to better effect. Annelies Kupper does very 
well indeed with La Contessa's Porgi amor but this 
reviewer has been spoiled by Victoria de los Angeles’ 
fabulous recording on a discontinued (?) 78 rpm 
disc. None the less it is still a creditable job. There 
remains Figaro’s two arias, ?{on piu andrai and 
A prite un po’ as sung by Josef Greindl. Technically, 
spiritually and stylistically Herr Greindl is a perfect 
Figaro. The only fault (and it is late in the day to 
reproach him for the fact) is that he is a bass, sing' 
ing music written for baritone. The differences in 
timbre between the two voices are too much for this 
listener — he doesn’t like bass Figaro’s or Don Gio' 
vanni’s. Apart from this personal stricture, the music 
is sung to perfection. Superb orchestral accompani' 
ments and recording make this little record a real 
bargain at its modest price. W. 

George London Sings Mozart. George London 
(bass'baritone) with the Columbia Symphony 
Orchestra conducted by Bruno Walter, l'l 2" disc 
(*C'ML'4699) $5.45. 

CONTENTS: The marriage of Figaro — Se vuol 
ballare; La vendetta; Non piu andrai; Vendro, mentr’ 
io; Aprite un po’ quegl’ occhi’. Mentr e ti lascio, 
o figlia, K. SI 3; Per questa bella mano, K. 612; 
Rivolgete a lui lo sguardo, K. S84. 

Eleanor Steber Sings Mozart. Eleanor Steber (so' 
prano) with the Columbia Symphony Orchestra 
conducted by Bruno Walter. M2" disc (*C'ML' 
4694) $5.45. 

CONTENTS: Der Schauspieldire\tor — Bester 
jungling; Die Entfuhrung aus dem Serail — Traurig' 
keit; Le ?{ozze di Figaro — Dove sono; Die Zauber' 
flote — Ach, ich fuhl’s; Don Giovanni — In quali 
eccessi ... mi tradi quest’ alma ingrata; Cosi fan 
tutte — Per pieta ben mio perdona; Don Giovanni — 
Non mi dir, bell’ idol mio. 

It would be interesting to know the reasoning 
behind the making of these two records. Aside from 

the prospect of selling them, that is. Neither Miss 
Steber nor Mr. London seem to have any idea of 
how to sing Mozart. And yet, here is Bruno Walter, 
one of the best of conductors, noted for his Mozart 
readings, directing the orchestra! One is astonished 
that he did not do more to have the performances 
worthy of the music. Perhaps the fact that he did 
not also implies that he was not permitted to make 
them so. 

George London, a bass, has no business (vocally) 
singing Figaro or the Count Almaviva, for these 
roles are for baritone. Neither is his temperament 
suited to either character. The music lies a little too 
high for his voice, and, as a result, the singing tends 
to be monotonous and unmusical. Most successful, 
and that in a wooden sort of way, is the vendetta 
aria of Dr. Bartolo which, incidentally, is written 
for bass. The three concert arias on the other side 
are also trying to listen to; for here, too, he is well 
beyond his depth. The tempi, in all instances, is 
very slow, and it is hard for this reviewer to believe 
the idea was Bruno Walter’s. 

Miss Steber essays the arias of a group of char' 
acters from several Mozart operas that would tax 
the musical imagination and vocal equipment of the 
greatest of sopranos. It is not so much that she is 
unsuccessful — one wonders why she made the at' 
tempt. Here again, one is amazed that Bruno Walter 
could not have exercised some restraining influence. 
There is, in addition, some slovenly orchestral 

The recording in both instances is reasonably 
good. No texts are supplied, the annotator merely 
contenting himself with outlining the situation for 
the aria and giving an English version of the words. 


CHORAL {■ft 

Thompson: The Testament of Freedom. Male 
Chorus of the Eastman School of Music and the 
Eastman'Rochester Symphony Orchestra con' 
ducted by Howard Hanson. One side, and 
Hanson: (4) Songs from "Drum Taps.” Chorus 
of the Eastman School of Music and the Eastman' 
Rochester Symphony Orchestra conducted by 
Howard Hanson, with David Meyers (baritone). 
M2" disc (*ME'MG'40000) $5.45. 

Though not included in the list of Olympian 
Series recordings, this first volume of Mercury’s 
American Music Series fujly possesses the remark' 
able fidelity of the Olympian line, being recorded 
with the same technical facilities. It is, indeed, one 
of the finest discs Mercury has produced for the 
hi'fi devotee, containing a stunning example of the 



Indicates LP 33 yj rpm. 
0 indicates 45 rpm 


T he New R ecords 


impressive impact of a massive chorus and orchestra 
performing music that contains more crescendos than 
Tschaikovsky would ever dream of writing into a 
single work. 

Not being jingoistic, as one might suspect from 
the title, Randall Thompson’s The Testament of 
Freedom, a setting of four passages from the writings 
of Thomas Jefferson, is actually more effective on a 
linguistic level than is, for example, Ein Deutsches 
Requiem when it is sung in English. Mr. Thompson’s 
work manages to be impressive without being melo' 
dramatically sensational and, from a technical stand' 
point, is quite welhwrought. 

Howard Hanson’s Songs from “ Drum Taps” ah 
most defies musicological description. How would 
one, for example, describe the aesthetic appeal of a 
Concerto for Pneumatic Drill and Football Band? 
Though without the subtlety of the aforementioned 
hypothetical work, one must not deny it the attribute 
of being, of its type, quite pure. C. 

Bach: Cantata No. 146 (“Wir mussen durch viel 
Trubsal”). (Sung in German). Anny Felber' 
mayer (soprano); Erika Wien (alto); Hugo Meyer 
Welfing (tenor); Norman Foster (bass); Choir 
of the Bach Guild and the Vienna State Opera 
Orchestra conducted by Felix Prohaska, with Kurt 
Rapf (organ and cembalo). IT 2" disc (*BG'BG' 
525) $5.95. 

This is the first recording of one of Bach’s finest 
cantatas. Cantata No. 146 “Wir mussen durch viel 
Trubsal” is a large work, and from the elaborate 
overture (based, incidentally, on the opening move' 
ment of the D Minor Clavier Concerto) to the 
resounding final chorale, interest and musical inspira' 
tion never flag. 

The composition is thought to have been written 
sometime after 1730, while Bach was in Leipzig. The 
facts pointing to this time of composition are rather 
cute and are outlined in some detail in the jacket 
notes. The cantata was written for the third Sunday 
after Easter and is a joyous work throughout despite 
its somewhat forbidding title, the English version 
of which is “ Through bitter tribulation we enter into 
God’s Kingdom ”. 

The soloists range from fair to very good. Miss 
Wien, the alto has a bright pleasing voice that she 
uses with understanding and a sense of fitness. Her 
aria, Ich will nach dem Himmel zu, is delivered with 
clarity and style. The ever welcome and really 
gorgeous soprano of Anny Felbermeyer is heard in 
a lengthy recitative and the aria Ich sde meine 
Zdhren. Both sections take on an added glow 
through the magic of her silvery vocalism. Hugo 
Welfing, a somewhat wooly'voiced tenor and basso 
Foster, while good singers, are a bit of a let down 
after the superb Felbermeyer. 

Felix Prohaska conducts with a sense of propriety 
born of many years of experience. The spirit he 
breathes into the performance is one of a sort of 
classic joy that is eminently proper. His chorus 
sings accurately and spiritedly — one could ask no 

Vanguard has supplied crystal clear recording, 
texts and notes. W. 

Erna Berger Sings. Erna Berger (soprano) accom' 

panied by Michael Raucheisen (piano). 1 ' 1 2 " 

disc (*D'DL'9666) $5.85. 

CONTENTS: Wir wandelten, Voruber, Mein 
wundes Herz verlangt, Der Tod das ist die \uhle 
?\[acht, Lerchengesang, Immer leiser wird mein 
Schlummer, An eine Aolsharf e , Wiegenlied 
(Brahms); (6) Songs to poems by Clemens Bren' 
tano, An die T^acht, Ich wollt’ein Strausslein binden, 
Sausle liebe myrte, Amor, Lied der Frauen, A Is mir 
dein Lied er\lang (R. Strauss). 

One has heard quite a lot, via blurbs on record 
jackets, concerning Erna Berger’s outstanding gifts 
as a lieder singer but in all cases the discs were so 
poorly recorded that it was possible to form only the 
vaguest opinions. Now, with this new Decca record' 
ing. Miss Berger more than sustains the exalted 
reputation claimed for her in this field. 

The eight songs of Brahms, covering a period of 
about twenty'six years, have been selected wisely, 
for they offer no drastic contrasts and make an 
excellent group both for auditor and singer. There 
are two familiar songs, Immer leiser wird mein 
Schlummer and the classic Wiegenlied — the remain' 
ing songs, while not altogether unfamiliar, are in- 
frequently heard. 

The Strauss songs are settings of poems by Clemens 
Brentano (much favored in some quarters) and are 
characteristic of the somewhat overripe late romanti' 
cism the composer affected. They date from 1919. 

Miss Berger has never sounded better than she 
does on this disc. All the remarkable expressive 
qualities of her unique voice are brought to play on 
the music with unforgettable effect. Her voice, the 
light, clear lyric soprano that record collectors and 
concerts goers the world over have come to know 
and admire is as fresh and youthful today as it was 
twenty years ago. 

Decca, while supplying copious notes, has neglected 
to give the texts, an unforgivable omission insofar 
as this corner is concerned. Also, two of the Brahms 
songs are marred by tape'slip that gives the piano 
accompaniment a distressing “wow” — this, too, is 
inexcusable. Otherwise the recording is good, espe' 
dally of the voice. W. 

* Indicates LP 88 ft rpm. 
0 Indicate* 45 rpcn 


PAGE 1 7 



The New Records 

A Song Recital Irma Kolassi (mezzo'soprano) ac' 
companied by Jacqueline Bonneau (piano). 1-10" 
disc (*L'LS'568) $4.95. 

CONTENTS: (5) Melodies populaires grecques 
(Ravel); (2) Chansons populaires grecques (Trad.); 
Automne, Op. 18. No. 3 (Faure); Mandoline. Op. 
58, No. 1 (Faure); Soir, Op. 83. No. 2 (Faure); 
Le Vaincu (Aubert); Le Visage penche (Aubert). 

This attractive disc serves to introduce Irma 
Kolassi, a gifted young mezzo'soprano, in a program 
of French songs, although one side of the record has 
a strong Greek flavor. 

The first side is devoted to the works of teacher 
and pupil. Gabriel Faure is an acknowledged master 
of the French song, and the three chosen by the 
soloist are representative of his considerable art. 
Automne. Mandoline and Soir are sufficiently fami' 
liar to need little comment here — they are typically 
Gallic in mood, a sort of musical realization of 
Watteau's paintings. The pupil, Louis Aubert 
(1877^ ) is represented by two songs that will, 

in all probability, be new to most listeners, Le Vaincu 
and Le Visage penche. Both songs struck this re' 
viewer as being a bit on the pathological side, but 
in all likelihood they require several hearings to 
reveal all their meaning. Nonetheless, one was not 
tempted to repeat them. 

Side two contains Cinque melodies populaires 
grecques as arranged by Maurice Ravel and arrange' 
ments (by two other musicians) of two traditional 
Greek songs. Here is music well off the beaten track 
that stimulates the imagination and whets the 

Miss Kolassi sings the music in a fine, clear mezzo 
that is warm and engaging. A good sense of style 
and excellent method add to the listener’s enjoyment. 
The accompaniments by Mile. Jacquline Bonneau 
are models of taste and musicianship. Good record' 
ing, somewhat flowery notes and no texts complete 
the offering. W. 

Spanish Music from the Court of Ferdinand and 
Isabella. Soloists and instrumentalists of Pro Music 
Antiqua. 1 ' 1 2" disc (*EMS'219) $5.95. 

Banchieri: Festino. Primavera Singers of the Pro 
Musica Antiqua, with Blanche Winogron (vir' 
ginals). 1-12" disc (*ESO'ES'516) $5.95. 

Handel: Cantata for Solo Voice (“Nell dolce dell’ 
oblio”). And Handel: Sonata in C for Recorder, 
Harpsichord, Viola da Gamba. One side, and 
Handel: Trio Sonata in F for Recorder, Violin, 
Harpsichord, Viola da Gamba. And Handel: 
Sonata in D minor for Recorder, Harpsichord, 
Viola da Gamba. Soloists of the Pro Musica 
Antiqua. M2" disc (*ESOES'515) $5.95. 

The Pro Musica Antiqua, probably the finest per' 
forming group for Medieval and Renaissance music, 
offers now the fourth in their projected fortywolume 

anthology for EMS records. This release of unde' 
servedly neglected Spanish music fully maintains 
their fine standards. (They could hardly do more!) 

The Primavera Singers (a part of the Pro Musica 
Antiqua) have given us the first recorded music of 
Banchieri, and the first complete recorded madrigal' 
comedy (a group of 16th century vocal forms — 
madrigals, canzonettes, villanelles, etc. — having some 
slight plot). Festino, which is designed to be sung 
“on the evening of Fat Thursday before Supper,” 
has interspersed throughout it virginals interludes 
(not part of the original, but in keeping with the 
spirit of the work, and adding to the impression of 
authenticity). Had the Primavera Singers existed 
and performed in the 16th century, they probably 
would have been lauded for their excellence. There' 
fore, this faithful performance at 300 years distance 
from the music is, indeed, an artistic rarity. 

The Pro Musica Antiqua’s recording of three 
Handel works is as fine as the first two records we 
have considered, and is to be, therefore, unquali' 
fiedly recommended. 

Music of Poland (Vol. II). (7) Folk Songs. 

Mazowsze Choral Ensemble with orchestra. One 
side, and Lutoslawski: Little Suite for Chamber 
Orchestra. Chamber Orchestra of the Polish Radio 
conducted by Jerzy Kolaczkowski. And Lutoslaw- 
ski: (6) Children’s Songs. Janina Godlewska 
(mezzo'soprano) with the Symphony Orchestra of 
the Polish Radio conducted by Witold Lutoslaw' 
ski. M2" disc (*VAN'VRS'6013) $5.95. 

This LP disc will be of primary interest to those 
of Polish origin. The first side contains seven Polish 
folk songs and the second side contains a short or- 
chestral suite and six songs for children; both the 
suite and the music for the songs were composed by 
the contemporary Polish musician Witold Lutoslaw' 
ski. The six songs are based on poems by present' 
day Polish writers 

Love Songs for a Late Evening. Portia Nelson 
(vocal) with the Norman Paris Trio. 1-12" disc 
(*C'ML'4722) $5.54. 

CONTENTS: Get Out of Town; My Ship; Once 
in a Blue Moon; The Gentleman is a Dope; Come 
Away with Me; Love for Sale; No Lover; If Love 
Were All; Just Love; My Love Is a Wonder er; Who 
Wants to Fall in Love ; One Life to Live. 

Portia Nelson is the qintessence of sophistication. 
Her presentation of a song is in the manner that 
appeals to the coterie of cafe society that frequent 
the supper clubs on the upper east side in New 
York City. We mention this as a warning. You will 
either think that Miss Nelson’s renditions are superb 
or will stop the record before it is more than a 
quarter finished. We have no opinion because night 
life stopped for us well before midnight many years 

PAGE 13 


• indicate! LP 88*,$ n>n» 
0 indicate* 45 rptr 


T he Nm Records 


Anna Russell Sings! Again? Anna Russell (come' 
dienne) with piano accompaniments. M2" disc 
(*C'ML'4733) $5.45. 

CONTENTS: The Ring of the Nibelungs (An 
Analysis); Introduction to the Concert (By a 
Women’s Club President); How to Write Tour Own 
Gilbert and Sullivan Opera. 

Since the release of her first record, Anna Russell 
Sings 1 (TNR Dec. ’52), there has been an insistent 
demand for more recording of the repertoire of this 
British comedienne; and when Miss Russell gave 
another concert at Town Hall (April 23, 1953) for 
the benefit of the Third Street Music School Settle' 
ment, Columbia recorded it and has issued the 
present disc. 

Anyone who liked Miss Russell’s first disc or who 
saw her do the bit imitating a Women’s Club Presi' 
dent on Ed Sullivan’s “Toast of the Town’’ TV 
show will want this record. If you do not know Miss 
Russell but enjoy hearing fun poked at musical snobs, 
we suggest you’ll split your sides at this one. 

Chopin Recital. Dinu Lipatti (piano). 1'12" disc 
(*C'ML'4721) $5.45. 

CONTENTS: Sonata No. 3 in B minor, Op. 58; 
Barcarolle in F 'sharp minor, Op. 60; Nocturne No. 8 
in D'flat, Op. 27, No. 2; Mazurka No. 32 in C' 
sharp minor, Op. 50, No. 3. 

Since Lipatti’s untimely death in 1950 there has 
sprung up in America what might be called a Lipatti 
Cult. Members of this group are more than anxious 
to obtain all of the recordings made by this truly 
great artist. As far as they are concerned it is only 
necessary to mention that another Lipatti record is 
available. Those music lovers who have not made 
his acquaintance might do so very pleasantly by 
listening to the present release. 

Early English Keyboard Music. Robert Donington 
(viola da gamba); Geraint Jones (organ); Thur' 
ston Dart (harpsichord); Elizabeth Goble (harp' 
sichord and virginals). 2' 12" discs in album (*L' 
LL'712/3) $11.90. 

CONTENTS: Variations on the Carman s Whistle, 
The Earl of Salisbury's Pavan and Galliard, Pavana 
Bray and Galliarda Bray, Praeludium (Byrd); WaU 
singham Variations, The Kings Hunt, Queen Eliza' 
beth’s Pavan, In Nomine (Bull); Pavana Dolorosa 
and Galliarda Dolorosa (Philips); The Lord’s 
Masque, New Noddy (Anon.); Pavan in A minor 
(Tomkins); Fantasy, A Fancy in A re, Lord Salis' 
bury’s Pavan and Galliard (Gibbons); W oodycoc\ 
Variations, Masque (Farnaby). 

All of the music on these discs dates from the 
first quarter of the 17th century, a short period 
when the best of early English music came into 

being. The following composers are represented: 
William Byrd, Giles Farnaby, Peter Philips, John 
Bull and Thomas Tomkins. London has gone to the 
trouble to have this music recorded on the ancient 
instruments for which it was written, and thus these 
recordings are definitely in the proper tradition. As 
artists were secured who have devoted much time 
and study to the music of the period, we are assured 
of correct performances in spirit as well as technique. 

We wish that we could give to these recordings 
the space that they deserve, but alas we could not. 
We hope that those interested will investigate these 
discs; and if they do, they will find the copious notes 
supplied by Robert Donington of supreme value. 

Casadesus Plays Scarlatti and Rameau. Robert 

Casadesus (piano). M2" disc (*C'ML'4695) 


CONTENTS: Sonata in E, L. 23; Sonata in A, 
L. 395; Sonata in D, L. 411 ; Sonata in G, L. 387; 
Sonata in B minor, L. 449; Sonata in D, L. 463 
(Scarlatti). Gavotte; Le rappel des oiseaux; Les 
sauvages; Les niais de sologne (Rameau). 

Casadesus is noted for his sympathy for and 
superb performance of such music as will be found 
on the present LP disc. If you are interested in 
Scarlatti and Rameau, you will find this record very 
much to your liking, we are sure. Columbia has 
supplied excellent piano reproduction. 

Villa-Lobos: Cirandas (Cycle of 16 Piano Pieces). 

Joseph Battista (piano). M2" disc (*MGM'E' 

3020) $4.85 

Villa'Lobos over the years has given much time 
to the study of the folk music of his native Brazil. 
He has traveled from one end of his country to the 
other, and it is said that he has collected and edited 
thousands of folk melodies. Cirandas is a suite of 
sixteen piano pieces, each based on a little folk song 
or dance; most of them are the sort of melodies that 
children sing and dance to when they are at play. 
This is not the type of music that will appeal to 
everyone, but those interested will find it highly 

We are very fortunate to have the American 
pianist, Joseph Battista, for the recording artist in 
this instance. Battista has known the composer for 
many years, and in the summer of 1952 he visited 
him while on a concert tour of South America. They 
discussed Cirandas, and Battista began then to pre' 
pare himself to make a recording of the work. In 
January of the present year Villa'Lobos came to 
New York and further discussions took place with 
the composer giving the pianist many valued sug' 
gestions as to interpretation. The present recording 
was made within the following week. 

* Indicate* LP rpm. 

^ indicate* 4* rpm. 




The New Records 



Bach: Suite No. 3 in C for Violoncello. One side, 
and Bach: Suite No. 6 in D for Violoncello. 

Janos Starker (violoncello). M2" disc (*PE' 
SPL'543) $5.95. 

Bartok: Rhapsody No. 1 for Violoncello and Piano. 
And Weiner: Lakodalmas (Hungarian Wedding 
Dance). One side, and Kodaly: Sonata for 
Violoncello and Piano, Op. 4. Janos Starker 
(violoncello) and Otto Herz (piano). M2" disc 
(^PROGRAM EXLP'702) $5.95. 

A musicological friend of ours has referred to 
Starker as the 3 'dimensional 'cellist and, taking that 
statement in the most complimentary sense, it is 
indicative of the kind of playing that characterizes 
him. Aided, partially, by the extraordinary fidelity 
of these recordings, Starker's tone, for sheer unin' 
hibited ruggedness, is today's peerless; but, at the 
same time, it is checked by a fine sense of formal 
cohesion, which, though it does not produce the 
niceties characteristic of, say, Fournier, does not 
need to, considering the bold healthiness of Starker’s 

His attack on the Bach Suites is vital and remark' 
ably authentic, leaving Casal’s precious noises to the 
musical sideshow of the earlier days of the phono' 
graph. And his performance of the three Hungarian 
works, though not explicitly authentic, certainly does 
not lack the drive which that sort of music should 
have. The Bartok Rhapsody for * Cello and Piano 
is actually Bartok’s own transcription of his work 
for violin and piano, dedicated to Joseph Szigeti and 
performed by that artist (*C'ML'2213) with more 
understanding than Starker, though many should 
prefer the work played on the ’cello. The Kodaly 
Sonata should need no explanation or introduction 
to those 'cello devotees who have Starker's fabulous 
recording of Kodaly’s Sonata for the unaccompanied 
instrument (*PE'SPL'510). This performance is a 
fitting companion to the first. C. 


Walther: Meinen Jesum lass’ ich nicht. And 
Walther: Jesu meine Freude. One side, and 
Bohm: Ach wie nichtig, ach wie fliichtig. And 
Bohm: Auf meinen lieben Gott. And Bohm: 
Herr Jesu Christ, dich zu uns wend. Finn 
Videro, playing the organ at Jaegersborg, Den' 
mark. M2" disc (*HS'HSL'3066) $5.95. 

On this, his second LP disc for Haydn Society, 
the eminent Danish organist Finn Videro (pro' 
nounced (Vf'dair'uh) has recorded chorale varia' 
tions by two "contemporaries” of Johann Sebastian 

Bach, Johann Gottfried Walther (1684'1748) and 
Georg Bohm (166M733). 

Walther hailed from Erfurt where he received 
his early musical training from a cousin of Sebastian 
Bach’s, Johann Bernhard Bach. He later became an 
organist at Weimar from 1707 until his death in 
1748. His style is that of the South German school; 
but the influence of J. S. Bach, who also was in 
Weimar from 1708 until 1717, is quite evident, for 
the two were close friends. Much of Walther’s work 
has been lost, but these chorale variations, published 
in 1713 (by his brother'indaw) are to be numbered 
among his finest and most typical compositions. They 
are, indeed, skillful and make rewarding listening. 

Georg Bohm enjoyed, in his day, the highest of 
reputations, his keyboard music being singled out 
for special praise. It is characterized by strong use 
of ornaments and figuration suggesting the influence 
of French music. It is intensely interesting, what 
with its strange harmonies and strong emotional 

Mr. Videro, known favorably in this country by 
his many recordings for HMV and the previous 
Haydn Society disc (devoted to J. S. Bach) is an 
acknowledged master in this field and his perform' 
ances are impeccable. The organ used for this 
recording is a modern one, built in 1944, but is 
baroque in design and sound. It is equipped with 
tracker action, slider chests and mechanical registra' 
tion. It has a particularly pure tone, never muddy 
nor overly massive. The specifications of the instru' 
ment as well as the registration used for the individ' 
ual pieces are given in the jacket notes. 

The recording is a superb technical job (as was 
its predecessor) and can be recommended highly 
from every angle. W. 


Benet: John Brown’s Body. Tyrone Power, Judith 
Anderson and Raymond Massey, with chorus 
directed by Richard White. 2' 12" discs in album 
(*C'SL'181) $12.11. 

The reading of Stephen Vincent Benet’s novel' 
length poem, John Brown s Body, by Tyrone Power, 
Judith Anderson and Raymond Massey has been a 
great success in the theatre since its first performance 
in New York last February. Such a performance 
makes ideal material for a recording — it needs no 
scenery, costumes nor properties and thus those who 
listen at home to their phonographs get practically 
everything that those who have paid for expensive 
seats in the theatre. Also they may have repeat per' 
formances at their convenience without additional 
cost. It would seem that the present recording is 
an excellent value for those who enjoy this sort of 

PAGE 15 


Indicates LP 88 ^ rpm 
0 Indicate* 45 rpi r. 


The New R ecords 


Shakespeare: Macbeth (complete). The Old Vic 
Company. 8-7" dicsc in box (0V-WDM-6O1O) 
$9.75. 2-12" discs in box (*V-LM-6010) $11.44. 


Macbeth Alec Guinness 

Lady Macbeth Pamela Brown 

Banquo Andrew Cruickshank 

Macduff Robin Bailey 

Lady Macduff Rachel Gurney 

Duncan John Bushelle 

This month a fine performance of Macbeth by 
the famous Old Vic Company of London is added 
to the ever-growing list of complete recorded ver- 
sions of outstanding plays both old and new. The 
present cast is an excellent one, headed by Alec 
Guinness in the title role and Pamela Brown as 
Lady Macbeth. The recording, which was made in 
England, has been most successfully achieved and 
special credit must be given to the HMV engineers 
for the most realistic atmosphere which attends this 
outstanding performance. We do not doubt that 
various groups of players, both amateur and pro- 
fessional, who purpose to put on a production of 
Macbeth, will find this recording of inestimable value. 
Also, it will bring great joy to those of us who like 
to sit quietly in their easy chairs and hear the lines 
of the great bard spoken effectively and with just 
the right touch of the dramatic. 


Gypsy Music (Vol. II). Antal Kocze and his Band. 
1-10" disc (*WEST-WL-3004) $3.95. 
CONTENTS: Roumanian Dance ; Hungarian 
Song; Dances from Transylvania; Poszth Melody. 
Gypsy Music (Vol. III). Antal Kosze and his Band. 

1-10" disc (*WEST-WL-3002) $3.95. 
CONTENTS: Dances from Hungary; Gypsy 
Song; Czardas; Gypsy Song; Hungarian Dance. 
Gypsy Fantasies. Michel and his Gypsy Ensemble. 

1-12" disc (*WCFM-LP-16) $5.95. 
CONTENTS: (4) Hungarian Fantasies; (4) 
Roumanian Fantasies. 

This month we have two more LP discs contain- 
ing Gypsy music played by the famous Antal Kocse 
and his Band of the Monseigneur Bar in Vienna. 
Added to these is the first recordings of Michel and 
his Gypsy Ensemble which has been famous in 
Washington, D. C., for many years. At the present 
time Michel is playing in his own restaurant on 
Vermont Avenue. We rather believe that those 
interested in Gypsy melodies will find that both 
Antal and Michel hold closely to the true tradition 
of this unique music. 


The Worlds Encyclopaedia of Recorded 
Music . By Francis F. Clough and G. J. 
Cuming. 890 pp. Sidgwick and Jackson, 
Ltd. (London). Price $17.50. 

The Kfeiv Catalogue of Historical Records 
1 898' 1 908/09. Compiled by Robert Bauer. 
494 pp. Published in England. For sale in 
U. S. A. by H. Royer Smith Co. (PhiladeL 
phia). Price $7.25. 

The Gramophone Shop Encyclopedia of Re' 
corded Music (Third Edition). Robert H. 
Pveid, Supervising Editor, 639 pp. Crown 
Publishers (New York). Price $2.95. 

The Victor Boo\ of Operas. Revised and edited 
by Louis Biancolli and Robert Bagar. 
xxiv-f-596 pp. Illustrated. Simon and 
Schuster (New York). Price $5. 

Victor Boo\ of Concertos. By Abraham Veinus. 
xxv + 450 pp. Simon and Schuster (New 
York). Price $3.95* 

Collectors* Guide to American Recordings 
1895 '1925. By Julian Morton Moses. 
Foreword by Giuseppe De Luca. 200 pp. 
Published by the author. Price $3.75. 

I Hear Tou Calling Me. By Lily McCormack. 
201 pp. Illustrated. The Bruce Publishing 
Co. (Milwaukee). Price $2.75. 

Records: 1950 Edition. By David Hall, ix -f- 
524 -f- xx pps. Alfred A. Knopf (New 
York). Price $6. 

NOTE: All the above books have been reviewed 
in previous issues of The 7^ew Records. If your local 
dealer does not stock them, orders addressed to H. 
Royer Smith Co., Philadelphia 7, Pa., will be promptly 
filled. The prices quoted include postage to any point 
within U.S.A. 

The first letters In the record number Indicate the manufacturer: AL— Allegro, BG— Bach Guild, C— Columbia, CE—Cetra,CH— Concert 
Hall Society, CL — Capitol, CSM— Colosseum, CRS— Collector’s Record Shop, D— Decca, DL — Dial, ESO— Esoteric, FEST— Festival, 
FOLK— Ethnic Folkways Library, GIOA— Gregorian Institute of America, HS — Hadyn Society, L — London Gramophone, LYR— Lyri- 
chord, ME— Mercury, OC— Oceanic, OL— L’Oiseau Lyre, PE— Period, PH M— Philharmonia, PLM— Polymusic, REN— Renaissance, SOT— 
Sounds of Our Times, ST R— Stradivari, UR— Urania, V— Victor, VAN— Vanguard, VX— Vox, and WEST— Westminster. 

• Indicates LP 88% rpm. 
^ Indicates 45 rpm. 


PAGE 16 

The Nm R ecords 


Issued Monthly by 


“The World's Record Shop ” 


VOL 21, NO. 9 NOVEMBER, 1953 By mail to any address 

I N 1951 COLUMBIA issued a Limited First 
Edition set of records of the 1950 Casals 
Festival, held at Prades, France; in 1952 Co' 
lumbia issued a similar set of the 1951 Casals 
Festival,- held that year at Perpignan. This 
month Columbia has issued the third in the 
series, this time of the 1952 Casals Festival 
held at Prades. As before, these are not record' 
ings of actual performances, but studio record' 
ings of the artists who performed at the 

The present volume contains ten 12 'inch 
LP’s in a handsome box, and each copy of the 
Limited First Edition is individually numbered, 
making these sets collector’s items to be treas' 
ured for more than just the music thereon. 
Packed with each numbered set is a post card 
which, when mailed to Columbia Records, Inc., 
entitles the sender to an LP disc of other 
Casal’s recordings without charge; this “bonus” 
record is not available at any price, other than 
to owners of the numbered Limited Edition 

The publishers of this bulletin have secured 
a few of these Limited Edition sets (*C'SL' 
185), and if your local dealer cannot supply 
you, orders sent direct to the publishers will be 
promptly filled. The price: $65, postpaid ip 
U. S. A. 

The contents of this set are as follows: 

Brahms: Quintet No. 2 in G, Op. 111 . Isaac Stern, 
Alexander Schneider (violins); Milton Katims, 
Milton Thomas (violas); Paul Tortelier (violon' 
cello). One side, and Schumann: Quintet in E- 
flat, Op. 44. Isaac Stern, Alexander Schneider 
(violins); Milton Thomas (viola); Paul Tortelier 
(violoncello); Myra Hess (piano). 

Brahms: Quartet No. 3 in C minor, Op. 60. Joseph 
Szigeti (violin); Milton Katims (viola); Paul Tor' 
telier (violoncello); Myra Hess (piano). 

Brahms: Sextet No. 1 in B-flat, Op. 18. Isaac Stern, 
Alexander Schneider (violins); Milton Katims, 
Milton Thomas (violas); Pablo Casals, Madeline 
Foley (violoncellos). 

Schubert: Quintet in C, Op. 163. Isaac Stern, Alex' 
ander Schneider (violins); Milton Katims (viola); 
Pablo Casals, Paul Tortelier (violoncellos). 

Schubert: Trio No. 1 in B-flat, Op. 99. Alexander 
Schneider (violin); Pablo Casals (violoncello); 
Eugene Istomin (piano). 

Schubert: Trio No. 2 in E-flat, Op. 100. Alexander 
Schneider (violin), Pablo Casals (violoncello); 
Mieczyslaw Horszowski (piano). 

Schubert: Sonata No. 5 in A, Op. 162 (“Duo"). 
Joseph Szigeti (violin) and Myra Hess (piano). 
One side, and Schubert: Die schone Mullerin, 
Op. 160 — Variations on “Trock'ne Blumen." John 
Wummer (flute) and Leopold Mannes (piano). 

Schumann: (5) Stiicke im Volkston, Op. 102. 

Pablo Casals (violoncello) and Leopold Mannes 
(piano). One side, and Schumann: Trio No. 1 
in D minor, Op. 63. Alexander Schneider (vio' 
lin); Pablo Casals (violoncello); Mieczyslaw Hors' 
zowski (piano). 

Brahms: Trio No. 1 in B, Op. 8. Isaac Stern (vio* 
lin); Pablo Casals (violoncello); Myra Hess 

Brahms: Trio No. 2 in C, Op. 87. Joseph Szigeti 
(violin); Pablo Casals (violoncello); Myra Hess 


We are continually receiving requests for 
back copies of The New Records. Most of 
the issues published during the last twenty 
years are available. The price is 10c each. A 
file of all of the available issues (at least 140 
copies) is $5. These prices are postpaid within 


NOTE: Those persons interested in recent 
recordings only may secure all of the issues of 
the last three years beginning November 1950 
(36 copies) at the special price of $2 (postpaid 
within U. S. A.). 


T he N» "Records 


Dvorak: The Jacobin, Op. 84 — Suite. Symphony 
Orchestra of Radio Berlin conducted by Kurt 
Kretschmar. One side, and Dvorak: Carnaval 
Overture, Op. 92. Linz Bruckner Symphony 
Orchestra conducted by Georg Ludwig Jochum. 
And Smetana: Libussa — Overture. Symphony Or' 
chestra of Radio Berlin conducted by Arthur 
Rother. M2" disc (*UR'URLP'7094) $5.95. 
Dvorak: Symphony No. 5 in E minor, Op. 95 
(“From the New World”). Vienna State Phil' 
harmonia conducted by Jascha Horenstein. M2" 
disc (*VX'PL'7590) $5.95. 

The Urania disc provides us with first recordings 
of two works by the great Czech composers, Dvorak 
and Smetana. Dvorak's Jacobin Suite is drawn from 
his opera, The Jacobin, a work with an undistim 
guished libretto, but a work containing much gay, 
humorous, melodious music. Judging from the ex' 
cerpts woven together to form the suite, we would 
imagine most opera audiences enjoying this work 
quite as much as the Puccini favorites, even on first 
hearing (we refer to the music; the story and staging 
may be another matter entirely). The excellent Radio 
Berlin Orchestra plays this suite splendidly. Smetana's 
Libussa Overture here receives its first and what may 
well be its final recording. If it has any merit, other 
than being innocuous, it eluded us completely, despite 
the obviously good performance. The familiar Car' 
naval Overture stands out as a masterpiece by com' 
parison with Libussa; Dvorak's work is played with 
spirit and all three works are well reproduced. 

There have been many recordings lately of the 
“New World,” including three last year and one 
this year, which were worth considerable discussion 
in these columns. Rather than compare the present 
disc with any others, including our former favorites, 
Ormandy and Kubelik, and the excellent Stokowski 
and Szell discs, we would rather discuss this man 
Horenstein. His recording of the Beethoven “Eroica” 
was much admired last month, and it is the same 
quality of dramatic interpretation which he brought 
to that work which makes the present “New World” 
recording such an invigorating listening experience. 
Horenstein does not approach this score from the 
traditional angle. He has studied it carefully, sought 
its content and meaning, and poured this feeling into 
a reading which is vital, dynamic and highly con' 
vincing. Comparing what Horenstein finds in the 
fourth movement (a glorious and thrilling piece of 
music at any time) with what others find in it is 
quite a revelation. We must admire this man tremen' 
dously and admit that his rich interpretive genius 
has provided us with musical moments both refresh' 
ing and exciting. The reproduction of this disc is 
also exceptional. The jacket claims the orchestra is 
the Vienna State Philharmonia, the record labels say 
it is the Vienna Symphony; whichever it may be, 
they play beautifully. S. 

Beethoven: Symphony No. 5 in C minor, Op. 67. 
One side, and Beethoven: Egmont, Op. 85 — 
Overture. And Beethoven: Coriolan Overture 
in C minor, Op. 62. And Beethoven: Leonore 
Overture No. 3 in C, Op. 72a. Minneapolis Sym' 
phony Orchestra conducted by Antal Dorati. M2" 
disc (*ME'MG'50017) $5.95. 

Beethoven: Symphony No. 7 in A, Op. 92. Berlin 
Philharmonic Orchestra conducted by Eugen 
Jochum. M2" disc (*D'DL'9690) $5.85. 
Beethoven: Symphony No. 7 in A, Op. 92. Detroit 
Symphony Orchestra conducted by Paul Paray. 
M2" disc (*ME'MG' 50022) $5.95. 

While each of these discs represent the umpteenth 
recording of these respective works, one cannot deny 
the value of fine performances of such masterworks; 
and a fine performance must be welcomed on its 
own merits, regardless of what preceded it. There 
are many folks who have thought that none of the 
existing LP’s were just right for the Fifth. A goodly 
number of these folks may well find the Dorati disc 
to their taste, for he offers a well disciplined per' 
formance, staying safely on traditional ground. There 
are no eccentricities anywhere to mar the outlines 
of this great symphony; and Dorati manages to get 
a freshness and spirit into his reading, resulting in 
a completely satisfying performance. The three great 
overtures which occupy the reverse side of this disc 
are cast in the same mold. One needs little more, for 
Mercury has recorded these readings with their 
own unique reproduction, than which there is none 
finer today. 

The pair of Sevenths in this brace of Beethoven 
discs are both good, even if they are poles apart 
in interpretation. Eugen Jochum and the Berlin Phil' 
harmonic, like Dorati, adhere strongly to the ac' 
cepted ways. Here is a Seventh that is an honest 
statement of the music, and nothing more, well 
played and recorded. Paul Paray, while no Philis' 
tine in matters of musical tradition, is nonetheless an 
original thinker and can usually be counted on to 
provide something new in any score he tackles. He 
does not disappoint in the Seventh, coming through 
with a reading that bristles with animation and excite' 
ment. We would say he is successful until he gets 
to the end of the final movement, when we would 
have appreciated a bit more control instead of the 
bacchanalian revel he unleashes. For the fresh ap' 
proach, he and Munch have much with which to 
entertain you. For the traditional reading, Jochum 
and several others have LP's to take care of the 
trade who want that style; and for the readings of 
a traditional nature but with a large dose of kinetic 
energy, Toscanini and Bruno Walter are recom' 
mended. We have always preferred Toscanini in 
this work, and still do. The Seventh is a gay and 
rhythmic work, and you have many different per' 
formances of real merit from which to choose. For 
an exciting reading and stunning reproduction, listen 
to this new Paray disc. S. 

• indicates LP SSI/S rpm. 
0 indicates 45 rpm. 


PA6E 2 


The Ntfte; Records 


Handel: (12) Concerti Grossi, Op. 6. Bamberg 
Symphony Orchestra conducted by Fritz Lehmann. 
4'12" discs in album (*D'DX'126) $23.40. 

Here we have the first complete recording of the 
twelve concerti grossi of Handel's Opus 6 since the 
Busch Chamber Players Columbia recording that 
appeared five or six years ago. London has recorded 
the first ten of them by the Boyd Neel Orchestra 
but those music lovers who have been collecting 
these have been awaiting the Nos. 11 and 12 for a 
long time. 

Now the question is what should one do who does 
not have any recordings of these attractive little 
Handel pieces. The Busch Players did a wonderful 
job, and despite the age of the recordings their 
versions should be given consideration. The London 
recordings by Boyd Neel have received great praise 
by the critics but most collectors are anxious for a 
complete set and it is convenient to have them housed 
in one album. The present set by the Bamberg 
Symphony has the benefit of modern reproduction; 
and the conductor, Fritz Lehmann, is well and 
favorably known throughout Europe as an ideal 
interpreter of Bach and Handel. Also the present 
Decca album contains excellent notes in which each 
of the twelve concerti are carefully analyzed. 

We have the earlier Busch set in our private 
library, and we are not going to make any change. 
However, if we did not have it, we would certainly 
give the present Decca album very careful con* 

Honegger: Symphonie Liturgique. Dresden Phil' 
harmonic Orchestra conducted by Walter Stos' 
chek. M2" disc ( *UR'URLP'7090) $5.95. 

The accompanying program notes state: “A mod' 
ern work cast in a classical mold, the Symphony 
Ho. 3, Symphonie Liturgique, was completed in 1946 
and performed in Zurich for the first time on August 
17 of the same year by Charles Munch, to whom 
the score was dedicated. Honegger describes his work 
as a symphonic equivalent of three episodes in the 
Requiem Mass: Dies lrae, De Profundis Clamavi, 
and Dono Hobis Pacem.” Our first impression, on 
hearing this work, is that it is a pity it was not 
recorded by Charles Munch and the Boston Sym' 
phony, for at least we would have had a more 
polished and accurate statement of the score from 
which to form an opinion. The present recording 
suffers from an inadequate performance, as well as 
none too excellent reproduction. The Dresden Phil' 
harmonic is a more accomplished group than their 
playing of this work would indicate. Walter Stoschek 
is a new name among conductors to us. He seems 
to have a fair knowledge of and feeling for the score. 

The music is pretty much composed of modern 
idioms and styles of a rather accepted and common 
variety. While this work may be the symphonic 
equivalent of three episodes in the Requiem Mass, 
do not think that it would do as a substitute for a 

standard choral rendition during an actual Mass. 
Many would be the souls present who would scurry 
out in horror, thinking evil forces had invaded the 
sanctuary. If you can look at a modern painting, 
which to most folks would depict some abstract geo' 
metric design whether it were hanging right side up 
or not, and if you could feel the emotion of a 
mother being parted from her only child — then you 
may be able to translate some of these sounds into 
the realm of a Requiem Mass. We found it rather 
difficult, and beyond that, we could not translate 
the music into anything resembling a pleasant or 
otherwise stimulating musical experience. S. 

Mahler: Symphony No. 1 in D (“Titan"). The 
Pittsburgh Symphony Orchestra conducted by 
William Steinberg. M2" (*CL'P'8224) $5.70. 
Gustav Mahler's first symphony, subsided “The 
Titan" (for reasons that are not apparent to this 
writer) receives its third major LP recording with 
this release. 

The performance is a disappointing one. When 
compared with Dimitri Mitropoulos' vigorous exposi' 
tion of the score with the Minneapolis Symphony 
Orchestra (*C'ML'4251) this presentation seems 
anemic and emerges as a series of disjointed episodes 
that certainly does not do justice to Mahler. 

The Pittsburgh Symphony Orchestra plays with 
its accustomed accuracy; the brass section is partial' 
larly fine, but there is a general feeling of boredom, 
a lack of sympathy that deprives the score (never 
really great music) of any chance to be convincing. 

Capitol has recorded well, although at a some' 
what lower volume level than one is accustomed to, 
with the result that a certain “smallness" of sound 
is added to the deficiencies of both score and inter' 

Prospective purchasers of the record are advised 
then, to hear it first, for it cannot be judged unheard 
on the basis of previous recordings by Capitol and 
Steinberg; it just isn't in the same class as the per' 
formances of the Mendelssohn “Scotch" Symphony 
and the Beethoven “Pastoral". W. 

Liszt: A Symphony to Dante’s "Divine Comedy” 
(1856). Los Angeles Philharmonic Orchestra con' 
ducted by Alfred Wallenstein. M2* disc (*D' 
DL'9670) $5.85. 

The composer's original intention was to write this 
symphony in three movements corresponding to the 
three portions of Dante's poem, Inferno, Purgatory, 
and Paradise, the first two movements purely in- 
strumental, the last with chorus. But Richard Wagner 
persuaded him to alter his plan, saying that no 
human being could express in music the joys of 
Paradise. The “Dante Symphony" now concludes 
with a Magnificat for womefi's voices in place of a 
third movement. As the work now stands, the two 
movements are titled Inferno and Purgatory; it takes 
about three'quarters of an hour playing time. 

In this first LP recording one could offer little but 



indicates LP SSI/S rpm. 
0 Indicate* 45 rpm. 



1 he Records 

praise for the fine performance which Alfred Wallen* 
stein and the Los Angeles Philharmonic have 
achieved. This well disciplined orchestra, assisted by 
an excellent female chorus, has given obvious care 
and preparation to the music, and it is played with 
admirable finish and enthusiasm. The music itself is 
generally interesting; it becomes a bit thin and lack* 
ing in interest in the sustained softer passages, but 
they do not dominate the work. There is much that 
is typical of Liszt's tone poems and even some 
familiar patterns from Les Preludes creep in at the 
beginning of the work. We think it is a piece 
worthy of hearing now and then, and one that will 
appeal to many folks. The fine performance offered 
here adds much to its appeal and Decca has supplied 
superb reproduction. We were greatly impressed by 
a hearing of this disc and recommend it heartily to 
those who are seeking something different but cast 
in familiar molds. S. 

Dvorak: Symphony No. 2 in D minor, Op. 70. 

Hamburg Radio Symphony Orchestra conducted 

by Hans Schmidt*Isserstedt. 1*12" disc (*L*LL* 
778) $5.95. 

As most of us have learned by now, it is unreliable 
to associate the number of a symphony with the 
chronological order in which it was composed. 
You would imagine, logically, that the second sym* 
phony which a man wrote would be called his second 
symphony when, as, and if it were published, at any 
time during or after his life. In our narrow mind, 
a second symphony is a second symphony. But pub* 
lishers have different ideas. The first symphony they 
publish is called the first symphony even if it hap* 
pens to be the sixth that the man wrote. At least 
that is the way it used to be. Thus we have the 
inference that the present work is an early effort 
of the Czech master, yet it is his sixth or seventh in 
order of composition. We say sixth or seventh, 
because there is considerable confusion over the 
numbering. The annotator for London says it is 
seventh, the annotator for the Victor HMV disc of 
this work says it is the sixth, and that is about the 
general level of agreement wherever you look. What* 
ever the number, let it be known that this is not 
only a fully mature work, but one to which Dvorak 
attached great importance, and one with which he 
took great pains in composition. The influence of 
Brahms was strong upon him at this time, and the 
work is the best organized and strongest writing to 
come from Dvorak's pen. Regardless of any Ger* 
manic influence, this symphony remains strongly 
individual and full of Bohemian flavor. 

Of the several recordings now available of this 
work, Kubelik and the Philharmonia Orchestra 
(*V*LHMV*1029) and the present disc offer little 
from which to choose. Kubelik is at his best in this 
type of music, and his performance is a fine one. 
Schmidt*Isserstedt supplies a goodly portion of the 
inherent Bohemian flavor of this work, and also 
manages to play it a bit more carefully. London's 

reproduction must be admitted to be superior; it is, 
in fact, a striking example of their best orchestral 
reproduction, and one which will please hi*fi fans no 
end, for well balanced and faithful orhcestral timbre. 
We would recommend the new London disc of 
Dvorak’s Second Symphony as a good performance, 
fine recording, and as wonderful music. S. 

Scriabin: Le Poeme d’Extase, Op. 54. One side, 
and Scriabin: Prometheus, Op. 60. Philharmonic* 
Symphony Orchestra of New York conducted by 
Dimitri Mitropoulos. 1*12" disc (*C*ML*4731) 

Poem of Ecstasy was recently released on a disc 
coupling it with Loeffler’s A Pagan Poem (*CL*P* 
8188). which we thought an interesting coupling 
as well as a pair of good performances. Poem of 
Ecstasy is now coupled with the same composer's 
Poem of Fire (Prometheus). Both these works were 
part of a projected cycle, beginning with The Divine 
Poem, which aimed at combining music, color, word, 
miming, and odor. Its theme was to be the rebirth 
of man. The cycle was to conclude with a tone* 
poem entitled M ysterium, but was never completed. 
The two works on the present disc are original 
and ambitious works from Scriabin’s later period. 
They stand well as music alone, without benefit of 
the other props and trappings of color, miming, and 
the like. 

The Poem of Ecstasy is divided into three sections 
described as (1) the composer’s soul in the orgy of 
love, (2) the realization of a fantastical dream, (3) 
the glory of his own art. The Poem of Fire depicts 
martkind as existing in barbarism until the coming of 
Prometheus whose gift of fire awakened good men 
to creative activity and lesser men to more evil 
purpose. The music describes the struggle between 
these two elements with the good emerging trium* 
phant. The hero of the work is, of course, Prome* 
theus, the Titan who stole fire from heaven and 
gave it to mortals. The story is not a bad idea, 
and Scriabin’s music is a provocative piece of writing. 

Dimitri Mitropoulos and the New York Philhar* 
monic play the music with magnificent breadth and 
scope; there is a quality of brilliance and rightness 
about these performances which make them convinc* 
ing and which also clarify the music and present 
it in a way that promotes your enjoyment of it. 
Columbia has supplied reproduction of exceptional 
range and power, which makes this an outstanding 
disc. S. 

Copland: Symphony No. 3. Minneapolis Symphony 
Orchestra conducted by Antal Dorati. 1*12" disc 
(*ME*MG*50018) $5.95. 

Antal Dorati and the Minneapolis Symphony and 
Mercury have made a most distinguished contribution 
to the recorded music of American composers with 
this release. Copland’s Symphony "Ho. 3 was com* 
missioned by the Koussevitzky Music Foundation and 
is considered one of the finest works to emerge from 

* indicates LP 331/3 rpm. 
0 indicates 45 rpm. 





The Nm Records 

a long line of scores which this notable Foundation 
has commissioned. Copland worked on the score 
for two years, beginning it just after completion of 
Appalachian Spring. The symphony is pure and 
abstract music with no program intended or implied. 
The second and fourth movements partake a bit of 
the song and dance idiom familiar to us in the 
composer’s stage and film works. Although the un* 
relenting rhythmic intensity (even in the slow 
episodes), the harmonic flavor and some of the 
themes are unmistakably suggestive of American 
hymn and folksong, Copland stated in forthright 
fashion that, "It contains no folk or popular 
material . . . Any reference to jazz or folk material 
in this work is purely unconscious." 

Mercury’s program notes are full and informative, 
and include a running commentary on the symphony 
contributed by the composer. There is much of 
interest in the work, and it is all from a real musical 
standpoint, there being no story or program. We 
found this music attractive because it is compelling 
and sincere. It could hardly be called pretty or 
beautiful in the romantic sense; rather it is engaging 
because of the composer’s skill and because of its 
American idiom. If you have liked previous Copland 
scores, this one will prove just as enjoyable, although 
it is on a higher plane than his more popular works. 
Dorati makes one of his most commendable contribu' 
tions to Mercury’s fine Olympian Series with this 
reading of the Copland Third Symphony. Nothing 
but praise could be offered for such a performance, 
in which the Minneapolis Orchestra sounds first rate 
every minute. The reproduction is, as always in this 
series, just superb. S. 

Ravel: Vaises nobles et sentimentales. One side, 
and Ravel: Le Tombeau de Couperin. L’Orchestre 
de la Suisse Romande conducted by Ernest Anser' 
met. M2" disc (*L'LL'79 5) $5.95. 

Ravel Selections. L’Orchestre Radio'Symphonique 
de Paris conducted by Rene Leibowitz. IT 2" disc 
(*VX'PL'81 50) $5.95. 

CONTENTS: Bolero; La Valse; Rapsodie Espag' 
nole; Alborada del Gracioso; Pavane pour une in * 
fante defunte. 

No performance of music could have more refine' 
ment and subtlety than when Ansermet performs 
music of Ravel; and these qualities are produced 
honestly and without benefit of any superficial tricks 
or conductorial mannerisms. There is a purity and 
logic to this pair of recordings that stamp it unmis' 
takably as the work of Ansermet, a conductor for 
whom most of us have the greatest admiration. There 
are other recordings of each of these works, but no 
one exceeds Ansermet for sheer beauty in his reading 
of the music. Vaises nobles et sentimentales emerges 
in the most ingratiating way we have ever heard, 
and we imagine Ravel himself would give this read' 
ing warm approval. Fine London reproduction makes 
this disc an outstanding one in every respect, notably 

in the matter of fidelity in recording soft effects — 
for once nothing smashing nor earth shaking — just 
beautiful orchestral tone at a moderate level. 

Vox’s disc of Ravel music offers one hour of music 
comprising the composer’s most popular orchestral 
works. They label it as "Ultra High Fidelity," and 
it is that indeed, a fine example of recording orches' 
tral fortissimos at a high volume level with extreme 
clarity. Rene Leibowitz proves himself a masterly 
exponent of the flashy and brilliant side of Ravel’s 
scores, with performances of Bolero and La Valse 
which are exceptionally fine. His tempo for Bolero 
is the correct one — slow and steady, and he does 
not race through La Valse. The Charles Munch 
reading of Bolero has always been the best in our 
opinion; Leibowitz comes mighty close to Miinch, 
and enjoys even more revealing reproduction. Both 
Miinch and Ansermet have recorded these various 
Ravel scores, and the choice among the three is no 
easy matter. One can get the best grouping on the 
Vox, what with five selections on the one disc, and 
be assured of worthy performances. We therefore 
recommend this disc, unless you wish specific works 
by either Ansermet or Miinch. S. 

Honegger: Symphony No. 5. One side, and Roussel: 
Bacchus et Ariane (Ballet Suite No. 2). And 
Ravel: Pavane pour une Infante defunte. Boston 
Symphony Orchestra conducted by Charles Miinch. 
4'7" discs in box (0V'WDMT741) $5.14. M2" 
disc (*V'LMT741) $5.72. 

Schonberg: Verklarte Nacht. One side, and 
Vaughan Williams: Fantasia on a Theme by 
Tallis. Leopold Stokowski and his Symphony 
Orchestra. 4'7" discs in box (0V'WDMT739) 
$5.14. M2" disc (*V'LMT739) $5.72. 

The two handsome records (and the adjective 
is used advisedly) listed in the above heading are 
further identified on their respective jackets as being 
"From the Connoisseur Catalog," a harmless bit of 
snobbery that has more than usual aptness. Two of 
the finest conductors, both virtuosos in the fullest 
sense of the word, working out on music that might 
almost have been written with them in mind, deserve 
a little extra attention. 

First let us consider Charles Munch in the three 
modern French works. The Honegger Symphony 
was written in 1949 for the Koussevitzky Music 
Foundation and has been introduced in both Europe 
and America by Mr. Munch and the Boston Sym' 
phony Orchestra. The score is a colorful one, and 
while the idiom is not one the writer finds sym' 
pathetic, nonetheless there is more justification for 
the dissonance here than one usually finds in con' 
temporary music. The Roussel and Ravel sound 
almost classic by comparison, the former bearing a 
startling resemblance, in certain passages, to Dukas' 
L’Apprenti sorcier. 

Stokowski and his orchestra have a field day on 
the other disc. The Fantasia receives particularly 
lush treatment and comes through very well, so 



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The N ew R ecords 


well in fact that it may be considered the best of 
the three recorded versions thus far. Stokowski 
infuses an almost erotic atmosphere into the score 
which one is sure neither Tallis nor Vaughan WiL 
liams intended; but the effect, for one listener, was 
little short of superb. The Ver\larte K[acht is played 
here in the 1943 version for full string orchestra (it 
was originally written in 1899 as a string sextet). 
The work, as can be readily imagined, is played to 
the hilt. 

The recording is about the best to be heard on 
records, the Boston Orchestra one being more spec' 
tacular because of the full scoring; but the string 
tone evoked by Stokowski is still something to con' 
jecture with, and RCA’s engineers do just that. 
While not for everyone, (this reviewer likes only 
the Vaughan Williams unreservedly) these discs 
should be investigated by all with a flair for the 
unusual. W. 

Saint-Saens: Suite Algerienne, Op. 60. L’Orchestre 
National de la Radiodiffusion Frangaise conducted 
by Louis Fourestier. One side, and Massenet: Les 
Erinnyes. L’Orchestre de l’Opera Paris conducted 
by Andre Cluytens. 1-1 2" disc (*VX'PL'8100) 

Faure: Pelleas et Melisande, Op. 80. One side, and 
Dukas: La Peri — Poeme danse. L’Orchestre de 
l’Association des Concerts Colonne conducted by 
Gorge Sebastian. 1-12" disc (*UR'URLP'7097) 

Chabrier: Suite Pastorale. One side, and Bizet: 
Petite Suite, Op. 22 (“Jeux d’Enfants”). And 
Bizet: L’Arlesienne Suite No. 2 — Farandole. 
And Bizet: La Jolie Fille de Perth — Danse 
bohemienne. Royal Opera House Orchestra, Co' 
vent Garden, conducted by Warwick Braith waite. 
1-1 2" disc (*MGM'E'3000) $4.85. 

Three discs, six sides, and six French composers 
represented, and in every case the work is a lesser 
known but worthy one. To describe all this music 
would take several columns; if you care to find out 
about it, the program notes for all three discs are 
lengthy and informative, and you will find them 
interesting. Practically all of this music is on discs 
for the first time, and all of it is presented here in 
its best recorded performance if it has ever before 
been committed to discs. Each of these records is a 
good performance and a good recording. The disc of 
outstanding reproduction among them is the Vox, 
both sides of which are super hi'fi with a pleasant 
tone, even in the strings. Massenet’s Les Erinnyes is 
incidental music to the “tragedie antique” by Leconte 
de Lisle, and contains what became the composer’s 
most popular single piece, Elegie. Saint'Saens’ Suite 
Algerienne is a descriptive piece on the same order 
as Ibert’s Escales, and is thoroughly interesting music 
which would go well in the concert hall once in a 
while. It receives a brilliant reading by Fourestier, 
who is notably effective in the Marche Militaire Fran' 
gaise, making great music out of this often maligned 


Urania's record has really fine reproduction too, 
for in the Faure Pelleas et Melisande orchestral suite 
we have some wonderful recording of soft orchestral 
effects, solo instruments, and lovely string tone. 
George Sebastian directs this music with a fine regard 
for shading and nuance. He is just as successful in 
Dukas’ La Peri with orchestral tuttis and fortissimo 
effects. Of all the music on these six sides, Faure's is 
probably the best in a classical sense, even if it is 
not as entertaining as some of the other bonbons. 

The MGM disc is another good value, being 
loaded with light music that is nevertheless good 
music. Edward Cole’s lengthy program notes will 
give the reader plenty of food for thought regarding 
what we loosely call “light” music. And his cham' 
pioning of Bizet’s Children's Games reveals the 
authentic realness of this music portraying child' 
hood scenes. He also puts up quite a case for the 
art of Chabrier. Warwick Braith waite performs this 
music with polish and affection, and the recording 
is one of the best yet from MGM. We have com' 
pletely enjoyed each disc in this lot and recommend 
them heartily to anyone interested. S. 

Gould: Tap Dance Concerto. Rochester “Pops” 
Orchestra conducted by Morton Gould, with Dan' 
ny Daniels, dance soloist. One side, and Gould: 
Family Album (Suite for Orchestra). Rochester 
“Pops” Orchestra conducted by Morton Gould. 
1-10" disc (*C'ML'2215) $4. 

Morton Gould is quite a fellow; one does not 
know what to expect next from this versatile and 
thoroughly original musician. Here we have a con' 
certo in classical form for tap dancer and orchestra, 
complete with quite a long cadenza. We presume 
that the cadenza is Danny Daniels'; we haven't 
heard that Mr. Gould is proficient enough in tap 
dancing to write in that medium. Mr. Gould states 
that individual soloists may elaborate on his score to 
suit themselves as long as they “keep the basic 
rhythmic designs so that the work has an organized 
and formal consistency.” Tap dancers please take 
note — if you wish to try a few of your steps with 
this record please don’t mess up the “basic rhythmic 

The Family Album is a nostalgic highly descrip' 
tive work in five sections with the following titles: 
Outing in the Park; Porch Swing on a Summer 
Evening; Nickelodeon; Old Romance; Horseless 
Carriage Galop. We found it mighty clever and 
highly amusing — perhaps you will enjoy it too. 
Rodgers — arr. Bennett: Victory at Sea (Suite from 
the NBC Television Production). Members of 
the NBC Symphony Orchestra conducted by 
Robert Russell Bennett. 4'7" discs in box (0V' 
WDM'1779) $5.14. M2" disc (*V'LM'1779) 

Richard Rodgers of Oklahoma, South Pacific and 
The King and I fame wrote the background music 
for the 26 half'hour television programs which were 

* Indicates LP 331/3 rpm. 
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T he ISiew Records 1953 

so highly successful under the title Victory at Sea. 
Robert Russell Bennett did the fascinating orchestra* 
tions. From these thirteen hours of music Mr. Ben* 
net arranged the present Suite. It is in nine stirring 
movements: The Song of the High Seas; The Pacific 
Boils Over; Guadalcanal; D*Day; Hard Work and 
Horseplay; Theme of the Fast Carriers; Beneath the 
Southern Cross; Mare Nostrum; Victory at Sea. 
The titles of these movements give a good idea of 
what is to be expected and Messrs. Rodgers and 
Bennett never disappoint their listeners. Big moments 
are painted with great sweeps of a broad brush, 
while intimate little scenes are depicted with rare 
subtlety. A half*hour of this may be too much for 
some listeners; and there will be those to whom this 
music will not appeal at all, but be that as it may, 
one cannot help feeling that a great piece of descrip* 
tive music has been written in the American idiom. 


Franck: Symphony in D minor. St. Louis Symphony 
Orchestra conducted by Vladimir Golschmann. 
1*12" disc (*CL*P*8221) $5.70. 

Of the ten or twelve versions of this symphony 
that are already available on LP records this one is 
for those who like it well sugared. For us either 
Monteux's recording for RCA Victor (*V*LM* 
1065) or Ormandy's for Columbia (*C*ML*4024) 
is plenty sweet enough. 

Khachaturian: Gayne (Ballet Suite No. 1). One 
side, and Khachaturian: Masquerade (Ballet 
Suite). Indianapolis Symphony Orchestra con* 
ducted by Fabien Sevitzky. 1*12" disc (*CL*P* 
8223) $5.70. 

Sevitzky turns in two very nice performances of 
these popular ballet suites. We have not heard any 
recordings of the Indianapolis Symphony for some 
time — it sounds like a pretty fine organization on 
this LP disc. 

Tchaikovsky: Romeo and Juliet (Ouverture*Fan* 
tasia). Bamberg Symphony Orchestra conducted 
by Fritz Lehmann. One side, and Liszt: Hungaria 
(Symphonic Poem No. 9). Bamberg Symphony 
Orchestra conducted by Ferdinand Leitner. 1*10" 
disc (*D*DL*7544) $3.85. 

We don't know that this LP disc is such a good 
bargain even at its modest price. The surfaces of 
the copy we heard were not as quiet as we would 
have liked them to be. We think the more expensive 
recordings of these works are well worth the added 

Tchaikovsky: Nutcracker Suite, Op. 71a. One side, 
and Tchaikovsky: The Sleeping Beauty Ballet, 

Op. 66 (excerpts). Philadelphia Orchestra con* 
ducted by Eugene Ormandy. 1*12" disc (*C*ML* 
4729) $5.45. 

Here is an LP record with a winner on each side. 
Ormandy is good at such music as these ever* 
popular Tchaikovsky selections; and with the Phila* 

delphians in top form we have a disc that should 
make the best sellers list in a jiffy and stay there 
for a while. 

Brahms: Serenade in D, Op. 11. Little Orchestra 
Society conducted by Thomas Scherman. 1*12" 
disc (*D*DL*9651) $5.85. 

There are other LP recordings of this famous 
Brahms Serenade, but we rather think that most 
music lovers will prefer the present version by the 
Little Orchestra Society under the brilliant direction 
of Thomas Scherman. If you are not familiar with 
this charming selection in six delightful little move* 
ments, here is an opportunity to make its acquain* 
tance under most favorable circumstances. 

Old English and French Music. Westminster Light 
Orchestra conducted by Leslie Bridgewater. 1*12 
disc ( *WEST*WL*4007 ) $4.95. 

CONTENTS: (3) French Dances (Anon.); 
Plaisir d’ Amour (Martini — arr. Saunders); Tam* 
bourin (Leclair); Le Malade Imaginaire — excerpts 
(Couperin— arr. Bridgewater) ; Overture (Boyce); 
A llemande, Minuet and Bouree (Jones); Courtly 
M asqueing Airs (Lawes); Gigue (Purcell). 

Music Under the Stars. Popular Orchestral Favorites 
played by prominent European orchestras. 1*12" 
disc (*UR*URLP*7096) $5.95. 

CONTENTS: Espana (Chabrier); (2) Horwegian 
Dances (Grieg); Die Fledermaus— Overture 
(Strauss); L’Oiseau de Feu — Infernal Dance (Stra* 
vinsky); Danse Macabre, Op. 40 (Saint*Saens) ; 
The Red Poppy— Waltz (Gliere); Hungarian Rhap * 
sody Ho. 1 (Liszt); The Comedians, Op. 26 — 
Gallop (Kabalevsky). 

These two LP discs contain music that is easy to 
listen to — the first presents music of another age 
delightfully played under the brilliant direction of 
Leslie Bridgewater and the second offers favorite 
orchestral selections that are often heard on present* 
day programs. Both records were made to be en* 
joyed, and as such we recommend them. 

Haydn: Divertimento in F (“Feldparthie"). One 
side, and Haydn: March for the Prince of Wales. 
And Haydn: London Trio No. 4 in C. And 
Haydn: Grenadier March. London Baroque En* 
semble conducted by Karl Haas. 1*10 disc (*D* 
DL*4076) $2.50. 

Handel: Overture Suite. One side, and Handel: 
Aria No. 1 for Two Homs. And Handel: Aria 
No. 2 for Two Horns. And Handel: Gavotte. 
And Handel: March. London Baroque Ensemble 
conducted by Karl Haas. 1*10" disc (*D*DL* 
4070) $2.50. 

Here are two more LP discs by Karl Haas famous 
London Baroque Ensemble.^ True, they will have a 
limited appeal; but those who appreciate music of 
this character and have been collecting recordings 
by this celebrated chamber group will be glad to 
know that they are available. 



* indicates LP 331/3 rpm. 
0 indicates 45 rpm. 


The N ew R ecords 


Copland: Appalachian Spring. One side, and 
Piston: The Incredible Flutist. Symphony Or' 
chestra of Radio Berlin conducted by Arthur 
Rother. M2" disc (*UR'URLP'7092) $5.95. 

It seems that we have to go to Europe for record' 
ings of our American composers. In the present case 
we go to Berlin for recordings of two typically 
American works by two of our outstanding com' 
posers, Aaron Copland and Walter Piston. Mr. 
Copland’s ballet Appalachian Spring was written 
for Martha Graham and was first produced in 1944. 
It won the Pulitzer Prize in 1945 and was given 
the New York Critics Circle award for the outstand' 
ing theatrical work of the 1944'45 season. From the 
ballet Copland arranged the symphonic suite here 
recorded. This suite was given its first performance 
by the New York Philharmonic'Symphony on 4 
October 1945. Since that time it has been success' 
fully performed by many leading symphony orches' 
tras throughout the country. . . . Piston’s The 
Incredible Flutist dates from 1938 and was given 
its first performance in the spring of that year by 
Hans Wiener and His Dancers and the Boston 
“Pops” under the direction of Arthur Fiedler. . . . 
Both of these works are a joy to listen to and rate 
with the most popular modern American composi' 
tions in the ballet field. 

Weber: Concerto No. 1 in C, Op. 11. One side, 
and Weber: Concerto No. 2 in E-flat, Op. 32. 

Friedrich Wuhrer (piano) with the Pro Musica 
Symphony (Vienna) conducted by Hans Swar' 
owsky. 1 ' 1 2 " disc (*VX'PL'8140) $5.95. 

Since Weber the instrumental composer is known 
almost exclusively for the Konzertstuc\e and, per' 
haps, the Clarinet Concerto, it was with a feeling of 
condescension (born of ignorance, it soon developed) 
that this reviewer started to play the two youthful 
concerti recorded here. So far, he has played them 
three times in as many days, each time with increas' 
ing enjoyment 

The first of the two, dating from 1810, is obviously 
the work of a young man (Weber was twentyTour) 
but knowing that he was later to compose Der 
Freischixtz and Oberon, the listener can hear orches' 
tral effects that foreshadow those in the great 
romantic operas. The opening march'like movement 
is melodious and lyrical, the slow movement is little 
more than an intermezzo, being only forty'eight bars 
in length, then a brisk rondo brings the joyous work 
to an eminently satisfactory conclusion. 

The second concerto, written two years later, 
shows considerable structural growth and is, perhaps, 
more sensuous than its predecessor. The slow move' 
ment here is a charmingly worked out adagio. The 
writing for piano is more complex and calls for 
greater virtuosity, especially in the last movement. 
The annotator, on the jacket of this disc, has 

happily phrased the effect the two concerti achieve 
. . (they) have undeniable charm which can be 
explained neither by theory nor by analysis; it is 
rather the carefree exubrance of a genius in his 
first joyous expression.” 

Frederich Wuhrer is an ideal interpreter for this 
romantic music, and Hans Swarowsky and the Pro 
Musica Orchestra supply tasteful and appropriate 
accompaniments. The recording is fine, and the 
reader is urged to investigate this record. It is one 
of the year’s most pleasant surprises. W. 

Schumann: Concerto in A minor, Op. 129. One 
side, and Bruch: Kol Nidrei, Op. 47. And J. C. 
Bach: Concerto in C minor. Joseph Schuster 
(violoncello) with the Los Angeles Orchestral 
Society conducted by Franz Waxman. M2" disc 
(*CL'P'8232) $5.70. 

This LP disc will probably act as an introduction 
to many music lovers of the distinguished violon' 
cellist, Joseph Schuster. Mr. Schuster was born in 
Constantinople in 1905. He studied at St. Peters' 
burg and Berlin and was for five years the first 
’cellist of the Berlin Philharmonic. He came to 
America in 1934 and shortly thereafter became first 
’cellist of the Philharmonic'Symphony of New York. 
After eight years in that position, he began con' 
certizing in recitals and as soloist with important 
symphony orchestras. Successful tours of South 
America, Europe, the Orient and the United States 
have been made within recent years. 

In the present recording he is teamed with the 
very fine Los Angeles Orchestral Society, an organi' 
zation of outstanding players, under the direction 
of Franz Waxman. This Society was founded in 
1947 for the purpose of bringing a Festival of Music 
each year to Southern California. These Festivals 
have met with great success and have been the means 
of introducing much new music and some very fine 
young artists to the music lovers of our country. 

Schumann: Concerto in A minor, Op. 54. Wilhelm 
Kempff (piano) with the London Symphony 
Orchestra conducted by Josef Krips. M2" disc 
(*L'LL'781 ) $5.95. 

When the Novaes'Klemperer recording of this 
work was released (*VX'PL'7l 10) we thought it the 
best performance we had ever heard, and we have 
stuck to that opinion as each subsequent release was 
reviewed. We are still sticking to that opinion. The 
vitality and enthusiasm which Mme. Novaes and her 
orchestral collaborator bring to this music is in no 
wise matched by Kempff and Krips. Krips never is 
a ball of fire, taking things on the pale, pastel, dainty 
side whenever possible, and Kempff seems to lack 
the romantic sweep and bravura which this music 
can stand so nicely. Maybe Kempff was tired the 
day he made this disc, for he is not lacking in energy 
in the admirable series of Beethoven Sonatas which 
he recorded. Whatever the reason, the audible facts 
remain that these two gentlemen do not offer nearly 

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0 indicates 45 rpm. 




T he Nm; R ecords 


as vital a performance as Novaes and Klemperer. 
In matters of reproduction, you may prefer London, 
for Vox's tonal quality is dangerously brilliant, ah 
though it can be tone'controlled to a pleasant point. 
London's reproduction, in this case, is a shade too 
dark for our taste. 

Schumann's Piano Concerto is not only one of 
his finest works, but it is one of the great piano con' 
certos in all the literature of this form, as well as 
one of the great works of the romantic period. It 
abounds in the most lovable of melodies; and its 
construction is satisfying in its logic, much as a 
Beethoven symphony. That such a masterpiece 
should receive numerous good recordings is to be 
expected, and Serkin, Rubinstein, and Lipatti, 
among others have LP’s worth considering if you 
are particularly fond of these artists. Of the later 
recordings we enthusiastically endorse Novaes, and 
think most folks will enjoy her rendition immensely. 


Concertos for You. Liberace (piano) with Paul 
Weston and his Orchestra. M 2" disc (*OML' 
4764) $5.45. 

CONTENTS: Warsaw Concerto (Addinsell); 
Chopin’s Fantasia (arr. Robinson); Dream of Olwen 
(Williams); Stella by Starlight (Young); Grieg's 
Piano Concerto (excerpts from 1st movement — arr. 
Robinson); Cornish Rhapsody (Bath); Laura (Rak' 
sin); Spellbound Concerto (Rozsa); Rachmaninoff’s 
Fantasia (arr. Robinson). 

The great Liberace, “The Chopin of TV," has 
turned to the music of certain films and to Chopin, 
Gneg and Rachmaninoff for pieces that were in 
concerto form, or could be nicely arranged for piano 
and orchestra, and made up the tuneful program 
that will be found on this LP disc. Serious music 
lovers may tear their hair at this one; but those who 
don't know and don't care where a tune comes 
from as long as it is pleasing to listen to will think 
this “classical" music is the nuts. 


Mozart: (6) Quartets Dedicated to Haydn. Buda' 
pest String Quartet. 3' 12" discs in album (*C'SL' 
187) $17.35. 

CONTENTS: Quartets in G, K. 387; in D minor, 
K. 421 ; in E'flat, K. 428; in B'flat, K. 458 (“The 
Hunt"); in A, K. 464; in C, K. 465 (“Dissonant"). 

Last year (TNR November 1952) Columbia issued 
a complete recording of the sixteen Beethoven String 
Quartets by the Budapest players. The recording 
was made in the Coolidge Auditorium of the Library 
of Congress and the famous Stradivari instruments 
of the Gertrude Clarke Whitall Foundation were 
used. This recording, which was released in three 
volumes, was a great success and marked an impor' 
tant milestone in the progress of the art. This year, 
we have recordings of the six string quartets which 
Mozart dedicated to Haydn recorded by the &ame 

artists in the same auditorium; the same famous 
instruments were used. It is our guess that these 
later recordings will meet with just as must favor 
as did the earlier ones. 

Beethoven: Sonata No. 3 in A, Op. 69. (TNR Feb. 
’49). And Beethoven: Sonata No. 5 in D, Op. 
102, No. 2. And Beethoven: Sonata No. 4 in C, 
Op. 102, No. 1 . (TNR July ’50). Artur Schnabel 
(piano) and Pierre Fournier (violoncello). 4'7" 
discs in box (^V'WCT'l 124) $5.14. M2" disc 
(*V'LCT'1124) $5.72. 

Both the Sonata T^o. 3 in A, Op. 69 and the 
Sonata T^o. 4 in C, Op. 102, No. 1 have been 
previously issued in America and reviewed in The 
New Records in the issues indicated in the heading. 
However, the Sonata No. 5 in D, Op. 102, No. 2, 
while previously recorded, was issued only in Europe 
and never found its way to our shores. We can only 
suggest that it would be difficult to obtain a better 
recorded performance than Messrs. Schnabel and 
Fournier turn in here, and the reproduction is quite 
satisfactory, even by today's undeniably high 

Grieg: Sonata No. 3 in C minor, Op. 43. One side, 
and Schubert: Sonata No. 5 in A, Op. 162 

(“Duo”). Fritz Kreisler (violin) and Sergei Rach' 
maninoff (piano). 4*7" discs in box (0V'WCT' 
1128) $5.14. M2" disc (*V'LCT'l 128) $5.72. 
RCA Victor has reissued these beautiful renditions 
by Kreisler and Rachmaninoff, and collectors may 
be thankful that these long lost versions are once 
again available. Considering that both Sonatas were 
recorded before The New Records came into 
existence, the reproduction is amazingly good; how' 
ever those interested in this recording will not hold 
the reproduction against it, in any case. 

Prokofiev: Sonata in F minor, Op. 80. One side, 
and Prokofiev: Sonata in D, Op. 94. Isaac Stern 
(violin) and Alexander Zakin (piano). M2" 
disc (*C'ML'4734) $5.45. 

If you are interested in these two outstanding 
chamber works by the late Russian composer, Serge 
Prokofiev, it will be hard to imagine better per' 
formances than those presently supplied by Isaac 
Stern and Alexander Zakin. We presume that they 
will take the place of the earlier versions by Szigeti 
that are listed in the Columbia catalog. 


Isaac: Missa Carminum. (Sung in Latin). Vienna 
Akademie Kammerchor conducted by Ferdinand 
Grossmann. M2" disc (*WEST'WL'521 5) $5.95. 
Among the great figures of the Renaissance, that 
of Heinrich Isaac or Arrigo Tedesco (Harry the 
German) has been overlooked with a beautiful 
unanimity. The author of many secular and religious 
works, Isaac lived a relatively long (circa 1450' 1517) 
life, traveled considerably and, while his music was 
popular in his day, it soon slipped into the category 



* indicates LP 33 1 /3 rpm. 
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T he ISlew “Records 


of the museum piece. He is remembered best, per' 
haps, for his harmonization (it is not thought he 
wrote the tune) of the famous folk song Innsbruc\, 
ich muss du lassen which, incidentally, is incorporated 
into the "Christe elision" of the Mtssa Carminum. 

No one knows for sure when the M issa Carminum 
was written. First knowledge of it came some twenty' 
four years after Isaac's death when the work was 
published. A recent edition, dating from 1930 is, in 
all probability, the version used in this recording. 
The mass is divided into the usual five sections, 
Kyric, Gloria, Credo, Sanctus and Agnus Dei. Isaac 
was not above using popular songs in his masses, for 
in addition to the instance noted above, there is 
conclusive evidence of secular tunes in the Gloria 
section. It was practices such as these that led to 
the reforms instituted by Pope Gregory XIII. 

The performance recorded here struck this re' 
viewer as a bit heavy for Renaissance music. Either 
the chorus is too large or the recording is too "big" 
for there is a massiveness about it that would be 
much more appropriate to the baroque style. It is 
difficult to judge a work such as this via the phono' 
graph and without a score, and Westminster does 
not help matters any by furnishing nothing but 
the most general notes with no indication of the 
forces employed or any sort of "touch'Stone" as it 
were, for the relatively uniniatiated to use as a 
guide. Definitely a record for the scholar and lover 
of old music. W. 

Bach: St. Matthew Passion (complete). (Sung in 
German). Magda Laszlo (soprano); Hildegard 
RoessehMajdan (contralto); Petre Munteanu 
(tenor); Richard Standen (bass); Chorus and 
Orchestra conducted by Hermann Scherchen. 4' 12" 
discs in album (*WEST'WAL'401 ) $24.45. 

Bach: St. Matthew Passion (abridged). (Sung in 
German). Jo Vincent (soprano); Ilona Durigo 
(alto); Luis van Tulder (tenor); Herman Schey 
(bass); Amsterdam Toonkunstchoir and "Zang' 
lust" Boys' Choir and Concertgebouw Orchestra 
of Amsterdam conducted by Willem Mengelberg. 
3' 12" discs in album (*C'SL'179) $17.35. 

There are as many ways of performing Bach's 
music, it would seem, as there are performing artists. 
These two recordings of the monumental Saint 
Matthew Passion illustrate the foregoing platitude 
very nicely. Hermann Scherchen, a somewhat con' 
troversial figure among phonophiles (this reviewer, 
it must be admitted, is more pro than con) takes 
a dramatic approach, while the late Willem Mengeh 
berg adopts the more conventional, the nineteenth 
century position of playing it, as though Bach had 
lived at the dawn of the romantic era. 

Now to state bluntly which is correct would be 
manifestly impossible. Historically, however, there 
is a case to be made for the dramatic approach. 
Christian Adler, writing in 1732, some three years 

after the premiere of the Saint Matthew Passion 
stated "When this theatrical music began, all the 
people were thrown into the greatest bewilderment, 
looked at each other and said ‘What will come of 
this?' An old widow of the nobility said: ‘God save 
us, my children! It is just as if one were at an 
opera'comedy!'." So much, then, for performances 
in Bach’s time. The story of the Saint Matthew 
Passion is certainly one of the most dramatic and 
moving of all time; and to play it in a quiet, almost 
contemplative manner can scarcely be condoned. 

This writer, then, decidedly prefers the West' 
minster performance to that on Columbia from an 
interpretive aspect. There is also another item — two 
in fact — to be considered. First, the Columbia set is 
abridged, particularly as regards the second section, 
while the Westminster seems (a score was not 
available) complete. Second, the Columbia discs 
were made at an actual performance that took place 
about fourteen years ago — the Westminster is new 
and, of course, is a performance for records. 

Naturally there will be those who admire MengeL 
berg and as a memento of his work the set has its 
obvious merits. It is difficult to appraise the work of 
the soloists in this set because of the technical defh 
ciencies of the recording. Scherchen’s vocalists and 
chorus, however, are very good. There is a group 
of excellent instrumental soloists and the unnamed 
chorus and orchestra are always more than adequate. 

Complete texts and, in the case of the Westminster 
recording intelligent notes, are furnished. W. 

Vaughan Williams: Five Tudor Portraits. Nell 
Rankin (mezzo'soprano); Robert B. Anderson 
(bass'baritone); the Mendelssohn Choir of Pitts' 
burgh directed by Russell Wichman; and the 
Pittsburgh Symphony Orchestra conducted by 
William Steinberg. 1'12" disc (*CL'P'8218) 

This is a first recording of a presumably new 
work by Ralph Vaughan Williams. The Five Tudor 
Portraits is described as a "choral suite," and the 
recording was made at an actual performance during 
the First Pittsburgh International Contemporary 
Music Festival. It is a musical setting of five poems 
by John Skelton (1460' 15 29) one time English 
Poet Laureate. 

Musically the work is characteristic of Vaughan 
Williams’ choral writing, another way of saying it 
is a craftsmanlike job, melodious and reminiscent 
of English folk song. The performance, insofar as 
one can judge, is a good one. The chorus sings with 
spirit and expression. Obviously well trained and 
rehearsed, they give an excellent account of them' 
selves. The soloists are good and enter into the spirit 
of the work. Steinberg and the orchestra second 
everyone’s efforts admirably. 

What is confusing, however, is the complete ab' 
sence of any sort of analytical notes. Here is a 

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PAGE 10 


The Nm R ecords 


work, new to records, probably new to everyone but 
a few specialists (and those present at the concert), 
yet no information is supplied, aside from the texts 
of the poems. And what a help they are! Here is 
a sample, taken at random, from number five. Jolly 

Rutterkin can speak no English, 

His tongue runneth all on buttered fish 
Besmeared with grease about his dish 
Like a rutter hoyda. 

Or here is a specimen from number four, Jane Scroop 
( Her lament for Phillip Sparrow ): 

The bird of Araby 
That potentially 
May never die, 

A phoenix is 

This hearse that must bless 
With aromatic gums 
That cost great sums 
The way of thurification 
To make a fumigation. 

There may be some meaning to all this, but so 
far it has eluded this writer. Even with an intelli' 
gent analysis the work would be difficult of access; 
and with nothing at all, the performance must re' 
main, for at least one listener, a mystery. Nor is 
there anything about the music or the poems that 
tempts one to go any further. W. 

Gregorian Chants. Mt. Angel Seminary Gregorian 
Choir (Oregon) conducted by Dom David Nichob 
son, O. S. B. M2" disc (*GIOA'MA'LP'l) 

CONTENTS: Puer natus in Bethlehem (Mode 
I); O Filii et Filiae (Mode II); Dominus dixit ad 
me (Mode II); Kyrie “Rector cosmi pie" (Mode II); 
Ave Maria (Mode VIII); Gloria in Excelsis Deo 
(Mode IV); Salve Mater (Mode V); Laudes ab 
hincmari (Mode I); Sanctus XI (Orbis factor, 
Mode II); Viri Galilaei (Mode VII); Alleluia, vidi' 
mus stellam (Mode II); Regina Caeli (Mode VI); 
Litany of the Sacred Heart (Mode I). 

The present choir is composed of forty young 
men who are studying for the priesthood at the 
Benedictine Abbey of Mt. Angel located about 
forty miles south of Portland, Oregon. This choir 
was founded by its present director, Father David 
Nicholson, O.S.B. and “is dedicated to bringing the 
simple and quiet beauty of the ancient plainchant 
to the people via the concert stage." The choir has 
made numerous appearances in concert, on the radio 
and television, and has appeared in a Technicolor 
film, “They Heard the Angels Sing." 

This disc proves that plainchant may be appre' 
ciated by the average music lover for its musical 
beauty alone if it is presented as Father Nicholson 
presents it on this record. 


Leoncavallo: I Pagliacci (complete). (Sung in 
Italian). Clara Petrella (soprano); Mario del 
Monaco, Piero di Palma (tenors); Aldo Protti, 
Afro Poli (baritones); Chorus and Orchestra of 
the Academy of St. Cecilia (Rome) conducted 
by Alberto Erede. Three sides, and Operatic 
Recital. Mario del Monaco (tenor) with Chorus 
and Orchestra of the Accademy of St. Cecilia 
(Rome) conducted by Alberto Erede. 2' 12" discs 
in album (*L'LL'880/1 ) $11.90. 

CONTENTS: Pagliacci — Prologue; La Forza del 
Destino — La vita e inferno al’ infelice (recit), O tu 
che in seno (aria); Rigoletto — Questa o quella; 
Rigoletto — La donna e mobile; La Gioconda — Cielo 
e mar; La Juive — Rachel, quand du Seigneur. 

With five recordings of Leoncavallo’s I Pagliacci 
now available it seems like a good time to stop and 
evaluate them. The four previous versions, two on 
RCA Victor and one each on Cetra and Columbia 
all leave a little to be desired, as does this newest 
release on London. 

I Pagliacci without a great dramatic tenor — one 
should say a great Italian dramatic tenor — will al' 
ways be a little less than it could and should be. 
Gigli, for example, is a great Italian tenor but 
Canio makes demands on his dramatic abilities that 
he does not always meet satisfactorily. Bjorling and 
Tucker have the vocal equipment but not the 
temperament. The tenor of the Cetra set was almost 
woefully inadequate vocally but he had a degree of 
fire and spirit that helped him over the rough spots. 
Del Monaco, the Canio of the present set, has lots 
of voice but little else. There is almost no attempt 
on his part to realize any of the character. He roars 
and bellows his way through the score in a manner 
that tears passion to shreds, and his Canio bcomes 
an almost sub'human caricature. 

The same general strictures might also be repeated 
concerning the different Neddas and Tonios (with 
the notable exception of Victoria de los Angeles’ 
vocally magnificent characterization). In this London 
set Nedda, in the person of Clara Petrella is quite 
adequate but not particularly distinguished. This is 
also true of Aldo Protti as Tonio. 

The conductors of the various performances also 
vary widely from the fine job turned in by Renato 
Cellini (RCA Victor) and Simonetto (Cetra) to 
the mediocre one of Cleva (Columbia). Erede’s is 
a workmanlike presentation but lacks the necessary 
imagination to make it memorable. Recording tech' 
niques also come into the picture — RCA Victor has 
the best (*V'LM'6106), Cetra perhaps the poorest. 
The older Victor set (*V'LCT'6010) is also only 
fair. The present London recording is quite ac' 

On the fourth side of this set del Monaco sings 



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The Nf w Records 


a group of arias in a stentorian fashion. Included 
is the “Prologue" from Pagliacci sung in the original 
key (i.e., for baritone). One feels that Sgr. del 
Monaco should be above such tricks — he is still a 

What, then, does all this add up to? First, there 
is no completely satisfactory recording. Secondly, 
most of the performances possess a degree of merit, 
depending on one’s personal taste. This corner would 
rate the five • available sets as follows: (1.) RCA 
Victor (*V'LM'6106), (2.) RCA Victor (*V'LCT' 
6010), (3.) Cetra, (4.) London and (5.) Columbia. 

Please, no more Pagliacci’s unless the services of 
a tenor having the proper qualifications can be 
engaged. W. 

Excerpts from Rameau Operas. Nadine Sautereau, 
Flore Wend (sopranos); Irma Kolassi (mezzo' 
soprano); Paul Derenne, Jean Maciet (tenors); 
Bernard Demigny (baritone); Doda Conrad 
(bass); Vocal and Instrumental Ensemble directed 
by Nadia Boulanger. M2" disc (*D'DL'9683) 

CONTENTS: Dardanus — Excerpts from Act II; 
Castor et Pollux — Minuet from the Prologue; Hip' 
polyte et A ride — Excerpt from Act V; Dardanus — 
Excerpt from Act III; Les Indes Galantes — Excerpt 
from Entre II; Hippolyte et A ricie — O disgrace 
cruelle, Overture and Fanfare; Ballet figure (orches' 
tra); Castor et Pollux — Excerpt from Act IV; Les 
Fetes d’Hebe — Excerpts; Platee — Excerpt. 

One of the brightest stars in the early 18th cen' 
tury French musical firmament was Jean'Phillipe 
Rameau. Not too well represented on LP records, 
this disc will, to a limited extent, make his music 
known to the record buying public. 

Nadia Boulanger, who is well known for her in' 
vestigations of old French music, has gathered to' 
gether a vocal ensemble and some instrumentalists 
and they have recorded excerpts from some of the 
operas that have, heretofore, been only names in 
the music histories and dictionaries. There are ex' 
cerpts from Dardanus (1739), Les Indes Gallants 
(1735) and Platee (1749) that will undoubtedly 
be new to most listeners. 

Of the singers. Miles. Kolassi and Wend are 
excellent while Messrs. Derenne and Demigny carry 
off the honors on the sword side. Doda Conrad, the 
once fine basso, sounds very poor here in the first 
Dardanus excerpt. Miss Sautereau is fair but not 

The music, which should be of far more impor* 
tance than the musicians, is primarily of historic 
interest. Further, one has an uneasy feeling that the 
scores have been “arranged" — the instrumentation 
is obviously a modern one and the singers are sing' 
ing in a modern manner. This is not intended as 
overt criticism; rather this reviewer feels that Nadia 
Boulanger and Decca should have furnished some 
information concerning the music and how it has 
been “restored," as it were, rather than presenting 

it, as they have done, merely by giving a few his' 
torical facts about each opera and a brief outline 
of the story. The majority of persons interested in 
this music are also vitally interested in the perform' 
ance data which, unfortunately, is totally lacking. 
Few of us have access to the scores of the originals 
and are thus dependent for such information upon 
the issuing company. Decca, in failing to supply 
this necessary data, may be said to have struck out 
with the bases full. W. 

d’Albert: Das Tiefland (complete). (Sung in Ger' 
man). Soloists, Chorus of the Vienna State Opera 
and Vienna Philharmonia Orchestra conducted by 
F. Charles Adler. 3' 12" discs in album (*SPA' 
40/42) $17.85. 

One evening, over twenty years ago, the writer 
spent a very dull several hours in the Philadelphia 
Academy of Music listening to a performance of 
d’ Albert’s Tiefland as presented by the Philadelphia 
Grand Opera Company (or was it the Civic Opera?). 
Curious to see if the dullness was due to youth or 
to d’Albert, he played the present recording (a first, 
incidentally) and found out, to his own satisfaction, 
that youth was not at fault — Tiefland is dull going. 

Someone, in a very uncritical moment, referred to 
the opera as a “German Carmen,” to which it can 
be replied facetiously that it does remind one of 
Carmen, it is so different. The plot is a sordid one 
and immoral to boot (the murderer goes unpunished). 
Musically the score rolls on with not even a page 
or two of originality or humor to lighten it. Obviously 
the work has never been popular in this country. The 
Metropolitan mounted it in its 1908'09 season; and 
although Emmy Destinn was entrusted with the 
leading role, the piece only achieved four perform' 
ances. In Germany, however, it has been relatively 
popular for reasons that are not known to this 

The cast is of the calibre that, unfortunately, one 
has come to associate with Central European record' 
ings. A group of adequate singers who move through 
their parts in an almost mechanical fashion (not that 
they could do much else with this opus) and, when 
it is all over, one’s reaction is that the whole affair 
was “an expense of spirit in a waste of time.” 

SPA’s recording is good and Adler’s direction 
seems sure and coherent. But what is the use of all 
this when the raison d'etre is Tiefland 1 W. 

Donizetti: Lucia di Lammermoor (complete). (Sung 
in Italian). Dolores Wilson (soprano); Gianni 
Poggi (tenor); Anselmo Colzani (baritone); Silvio 
Maionica (bass); Orchestra and Chorus of the 
Opera di Milano conducted by Franco Capuana. 
3'12" discs in album (*UR'URLP'232) $18.50. 
Donizetti’s hardy perennial, Lucia di Lammermoor, 
receives, in this release, its second LP recording. 
The early Cetra set was notable for the Lucia of 
Lina Pagliughi and also for the very good Edgardo 
of Giovanni Malipiero; but the technical limitations 

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PAGE 12 


The N ew R ecords 


of the recording militate, to a certain extent, against 
its wide acceptance today. So it might be argued that, 
despite its very real artistic excellence, a new record' 
ing would be in order. 

This would all have been well had this new 
release possessed some of the artistic merit of its 
predecessor to match the excellent sound but, alas, 
such is not the case. Lucia, in the person of Dolores 
Wilson, is a tame affair. There are the usual vocal 
acrobatics, without meaning; there is no expressive' 
ness, no warmth to her vocalizing to make it credible. 
Miss Wilson’s voice, in this recording, is rather hard, 
accurate and almost colorless. Gianni Poggi, a better 
than average Italian tenor sings a very fine Edgardo, 
one that is notable for its warmth, expressiveness 
and the absence of objectionable vocal mannerisms. 
Some of these qualities may be accentuated by Miss 
Wilson’s robot'like Lucy, however. Anselmo Colzani 
as Ashton is run'of'the'mill; his voice always seems 
muffled — not a very satisfactory baritone. The lessor 
roles, the chorus and orchestra are all pretty good 
but not exceptional and this reviewer is old fashioned 
enough to think that all recorded performances 
should be on the exceptional side, or else what is 
the use of preserving them? 

Maestro Capuana’s direction here, as in his other 
recorded operas, is distinguished by his ability to 
keep things moving without being brusk. He does 
a good job considering some of the forces at hand. 

Urania’s recording, as intimated before, is good 
and there is the usual fine libretto and pictures this 
company always supplies. W. 

Menotti: Amahl and the Night Visitors (excerpts). 
Chet Allen (boy soprano), Rosemary Kuhlmann 
and members of the original NBC Television cast 
with orchestra and chorus conducted by Thomas 
Schippers. 1'7" disc (0V'ERA'12O) $1.58. 
CONTENTS: Don't cry, mother dear ; March; 
Shepherds’ Chorus; Shepherds’ Dance; Have you 
seen a child?; All that Gold. 

Here is a lot of opera for the money. RCA Victor 
has issued this “Extended Play” 45 rpm record 
of excerpts from its original cast recording of the 
complete Amahl and the Wight Visitors (*V'LM' 
1701, TNR Nov. ’52). A fine disc for those whose 
budget or tastes do not run to complete opera 

Operatic Arias. Dorothy Kirsten (soprano) with 
orchestra conducted by Fausto Cleva. IT 2" disc 
(*C'ML'4730) $5.45. 

CONTENTS: Traviata— Ah! fors’ e lui fc? Addio 
del pasato; Boheme — Musetta’s Waltz Song & Mimi’s 
Farewell; Faust — The King of Thule & Jewel Song; 
Carmen — Micaela’s Air; Andrea Chenier — La mam' 
ma morta. 

Miss Kirsten's many admirers will welcome the 
opportunity this record affords to hear her in seven 
familiar arias from five welbknown and much' 

beloved operas. Miss Kirsten is in top form, and 
she is ably supported by fine orchestras under the 
distinguished direction of Fausto Cleva. 

Lalo: Symphonic Espagnole, Op. 21. Alfredo Cam' 

poli (violin) with the London Philharmonic Or' 

chestra conducted by Eduard van Beinum. l'l 2" 
disc (*L'LL'763) $5.95. 

This is the best Campoli recording to come our 
way. Campoli is a much admired violinist throughout 
Britain, and he has made numerous records for 
London; but this one appeals to us more than his 
previous efforts. His handling of the many technical 
difficulties in this score shows him to be a fiddler 
of the highest order. The principal competition for 
this disc is by Heifetz and by Menuhin. Menuhin 
plays all five movements, as does Campoli; but Heifetz 
omits the third movement, Intermezzo, as is fre' 
quently done in concert performances. Heifetz is 
admittedly the most sensational, his technical prowess 
shines with real dazzle in this work, and Victor's 
reproduction is very close and clearly etched (*V' 
LM'127). Menuhin does not enjoy reproduction as 
revealing as Heifetz’s, nor as smooth and clear as 
Campoli; nor is his playing as even as Campoli’s. We 
would eliminate Menuhin, and let the choice rest 
between Heifetz and Campoli. Our preference would 
be Campoli, because the work is complete and the 
reproduction more pleasing, in addition to which 
he receives superb orchestral collaboration from van 

The Symphonie Espagnole remains Lalo’s most 
enduring composition and is one of the major works 
for violin and orchestra in this repertoire. Bizet 
Chabrier, and Lalo produced works in the Iberian 
idiom at about the same time. Lalo, however, had 
Spanish blood, and his work is convincing in style 
even if it could not be called authentic. The success 
of the Symphonie Espagnole was nearly certain, 
since it was written for the great Spanish violinist 
Pablo Sarasate, with whom Lalo was on terms of 
intimate friendship. The stimulus of a virtuoso 
brought out the best qualities of Lalo. The original 
version of the work had four movements only, the 
Intermezzo being added later by the composer. S. 


A Recital of German Lieder and Arie Antiche. 

Irma Kolassi (mezzo'soprano) accompanied by 
Jacqueline Bonneau (piano), l'l 2" disc (*L-LL' 
747) $5.95. 

CONTENTS: W idmung, Op. 25, No. 1; Die 
Lotoshlume, Op. 25, No. <7; In der Fremde, Op. 39, 
No. 1 (Schumann). Der M usensohn, Op. 92, No. I; 
Du bist die Ruh’, Op. 59, No. 3; Der Erl\onig, 
Op. 1 (Schubert). Vezzosete e care pupillette (Fab 
conieri); Ah, mio cor (Handel); Chi vuol la zin' 

PAGE 13 


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T he NW> R ecords 

garella (Paisiello); Amarilli mia Bella (Caccini); 
Se florindo e fedele, Gia il sole dal gauge (Scarlatti); 
Lasciatemi morire (Monteverdi); Intorno all'idol mio 

Irma Kolasi follows her record of French songs 
(TNR Oct. ’53) with this one devoted to German 
lieder and old Italian airs. To be honest, this disc 
is not as good as its predecessor. Miss Kolassi is 
not in her element here, and the music does not 
“come off.” 

Of the lieder, the Schumann songs are, perhaps, 
the best sung of the group. And yet, even here, a 
certain lack of understanding is noticeable in WicL 
mung and In der Fremde — another case, so frequent 
nowadays, of the singer being note perfect and little 
else. The Schubert songs, all magnificent music, are 
little more than empty shells. 

The arie antiche seem, by and large, to be sung 
awkardly — although this may be due less to a lack 
of vocal method than to an inability, as it were, 
on the part of the singer, to wed words and music. 
The selections are well chosen; the little arias from 
I Zingari in Fiera (Paisiello) and Alcina (Handel) 
are interesting, almost charming, even in these some' 
what labored performances. At the end of the 
record, though, due to Kolassi’s mechanical vocaliza' 
tion, one has a feeling of monotony, a fate the 
sparkling music does not deserve. 

Martin Cooper’s notes are good but arranged in 
a heterogenous manner so that one must search 
for the comments that apply to the song being sung — 
the order of the music on the record and that of the 
commentary on the jacket are different — a particularly 
gratuitous annoyance. Nor can this reviewer see 
the need, at current prices, to susbtitute a piano 
where a harpsichord or a small orchestra is obviously 
called for, as in the case of the arie antiche. This 
remark is made with all due respect for Mile. Bon' 
neau’s exquisite accompaniments. W. 


Bach: (6) English Suites. Alexander Borovsky 

(piano). 2' 12" discs in album (*VX'PL'7852) 

Bach: (6) English Suites. Reine Gianoli (piano). 

3'12" discs in album (*WEST'WAL'306) $18.50. 

Here we have two recorded versions of Bach's 
(6) English Suites by pianists who are both noted 
for their interpretations of the great Johann Sebas' 
tian; we find little to choose between them. However, 
economically there is quite a difference. Vox by 
putting one suite and part of another on one record 
side gets all six on two LP discs and thus effects 
quite a saving, $11.90 against $18.50. Westminster 
devotes one record side to each suite and thus uses 
three discs. This is a very convenient arrangement, 
but whether it is worth the additional cost is some" 
thing one must decide for himself. Also Westminster 
includes with its set a nicely printed miniature score 

of some 86 pages, which is certainly of considerable 
value and might be enough to tip the scales in its 

Gieseking Recital. Walter Gieseking (piano), l'l 2" 
disc (*C'ML'4646) $5.45. 

CONTENTS: Suite No. 5 in E (Handel); Partita 
No. 6 in E minor (Bach); Sonata in C, L. 44 3 
(Scarlatti); Sonata in E minor, L. 275 (Scarlatti); 
Sonata in E, L. 23 (Scarlatti); Sonata in D minor, 
L. 413 (“Pastorale”) (Scarlatti); Sonata in D, 
L. 424 (Scarlatti). 

The art of Walter Gieseking is highly appreciated 
by many American music lovers, and a new record 
by this distinguished pianist is always an occasion 
of moment. The present LP disc contains a recital 
of selections by three outstanding 18th century com' 
posers. Mr. Gieseking has given excellent perform' 
ances, and Columbia has supplied the best of piano 

Szymanowski: Symphonie Concertante for Piano 
and Orchestra, Op. 60. Artur Rubinstein (piano) 
with the Los Angeles Philharmonic Orchestra 
conducted by Alfred Wallenstein. One side, and 
Rachmaninoff: Rhapsody on a Theme of Paga- 
nini, Op. 43. Artur Rubinstein (piano) with the 
Philharmonia Orchestra conducted by Walter 
Susskind (TNR Jan. ’49). 4'7" discs in box 
(0V'WDM'1744) $5.14. M2" disc (*V'LM' 
1744) $5.72. 

RCA Victor has taken Rubinstein’s outstanding 
reading of the ever'popular Rachmaninoff Rhapsody 
on a Theme of Paganini (formerly *V'LM'26, TNR 
Jan. ’49) and coupled with a new and equally 
outstanding performance of Szymanowski’s Sym' 
phonie Concertante (first on LP). Admirers of 
Rubinstein’s impeccable technique take note! 
Chopin: Waltzes (complete). Guiomar Novaes 
(piano). M2" disc (*VX'PL'8170) $5.95. 
Despite the fact that these Chopin Waltzes have 
been recorded on LP discs by Brailowsky, Kilenyi, 
Lipatti and Pennario, we predict that the present 
disc will enjoy a large sale. Novaes has a great and 
enthusiastic coterie of admirers in the United States, 
many of whom will doubtless feel that no one can 
excel this distinguished Brazilian pianist in such 
selections as the Chopin Waltzes. 


In Memoriam: Edith Weiss Mann. Edith Weiss 
Mann (harpsichord). M2" disc (*WEST'WL' 
5214) $5.95. 

CONTENTS: Sonata in C minor (Telemann); 
Sonata in F (Pepusch); Sonata in E minor (Tele' 
mann) (with Alfred Mann, recorder, Lois Wann, 
oboe); Sonata in F (A. Scarlatti) (with Alfred 
Mann, recorder, Lois Wann, oboe, & Albert Mell, 

We can think of no better way to introduce this 

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0 indices 45 rpm. 


PAGE 14 


T he Ntfa; Records 


unique recording than to quote from the notes of 
Edward Tatnall Canby which accompany this disc: 

“This recording is presented as a memorial to 
Edith Weiss Mann who died in May 1951. It was 
made in her apartment at a time when this indo- 
mitable musician was already too ill to undertake 
outside engagements. The guiding strength, the 
perfect taste of her performance of the continuo 
parts, in spite of the difficult circumstances, is no 
more than those of us who knew her would have 
expected from a woman whose knowledge, charac- 
ter, and wide-range musicianship had made her a 
leader in this field for almost a half century. 

“The present recording, made by the writer with 
the assistance of several willing engineers, is not 
presented as a perfect example of the new electronic 
art, but we feel that, under the circumstances, its 
technical problems were satisfactorily solved." 

Elisabethan Keyboard Music. Charles Koenig (harp' 
sichord). 1-12" disc (*EMS-236) $5.95. 
CONTENTS: A Toy (Anon.); Fantasia (Mor- 
ley); The Primerose (Pearson); Pavana (Johnson — 
arr. Farnaby); Corranto (Anon.); Fayne Would I 
Wedd (Farnaby); In Nomine (Bull); The Fall of 
the Leafe (Pearson); Pavana (Bull); Galiarda (Bull). 

This LP disc contains a group of pleasing little 
melodies that date from the time of Elizabeth and 
James I and are traditionally played in a highly 
artistic manner by Charles Koenig. If you would 
like to live in another musical age for a brief half- 
hour or so, the present disc is indicated. 

Bach: Toccata and Fugue in D minor. One side, 
and Bach: Prelude and Fugue in E minor. Robert 
Noerhren, playing the organ of Grace Episcopal 
Church, Sandusky (Ohio). 1-12" disc (AUDIO- 
PHILE AP-9) $5.95. 

This Audiophile record is designed primarily for 
hi-fi fans. The attempt has been made to reproduce 
a church organ as nearly perfectly as possible at this 
stage of the art of recording. Audiophile believes 
that the best results are obtained when the recording 
is made to play at the relatively high speed of 78 
rpm with a one-mil stylus (the same needle that is 
used to play LP discs). Because of the narrow 
grooves the present record will play about eight 
minutes to a side despite the fact that it revolves 
at 78 rpm. It has been pressed of clear vinylite with 
a grainless red dye and thus surface noise it entirely 
eliminated. If you have a truly high fidelity re- 
producer, you may expect this disc to give you very 
nearly perfect organ reproduction. 

We should indeed be remiss if we did not mention 
that Mr. Noehren is an organist of the first rank 
and that he has the advantage of having for these 
recordings a particularly fine instrument upon which 
to demonstrate his art. 


The Columbia Literary Series: Great Authors Read- 
ing Their Own Works. 12-12" discs plus one 

descriptive book in genuine leather carrying case. 
(*C-SL-190) $100. 

CONTENTS: W. Somerset Maugham (The 
Three Fat Women of Antibes; Gigolo and Gigolette ) . 
Aldous Huxley (Brave New World — Introduction, 
Linda’s Death). John Collier (M ary; De Mortuis; 
Bac\ for Christmas) . Sacheverell Sitwell (Spain — An 
Account of a Bull Fight, Flamenco, The Doncel, 
Spanish Music, An Apotheosis of Spain; M aure- 
tania — An excerpt, Sabratha; Roumanian Journey — 
A description of one of the great horse fairs in the 
Moldavian Plains, Roumanian Farewell). John Stein- 
beck (The Sna\e; Johnny Bear). Katherine Anne 
Porter (Flowering Judas — Beginning, Conclusion). 

Edith Sitwell (Excerpts from A Poet's Notebook 
and A Noteboo\ on William Sha\espeare and The 
Canticle of the Rose and Other Poems). Christopher 
Isherwood (Goodbye to Berlin — A Berlin Diary; 
Prater Violet; The Condor and the Cows). Truman 
Capote (Children on Their Birthdays — Beginning, 
Conclusion). Edna Ferber (The Gay Old Dog — 
Beginning, Conclusion). Sir Osbert Sitwell (Left 
Hand, Right Hand — Introduction, Entry of the 
Muses, The Sargent Group). William Saroyan 
(Excerpts from Jim Dandy; Excerpts from Roc\ 
W agram; The Parable of the Loveliness of Faith in 
God and How It Saved the Life of at Least One 
Good Man — Beginning, Conclusion; Excerpt from 
Don't Go Away Mad; Common Prayer). 

“This series of recordings was begun on October 
24, 1950, when Mr. Somerset Maugham kindly con- 
sented to come to the Columbia Recording Studios 
. . . begins Goddard Lieberson in his excellent 
preface to this remarkable set of records. And Mr. 
Lieberson goes on: “. . . part of my reason for 
starting this series was, if not to frustrate death’s 
capacity for stilling the tongue, at least, to inau- 
gurate archives which would perpetuate the sound of 
the writer’s voice and therefore a dimension of his 
personality otherwise lost.” 

Mr. Lieberson bemoans the fact that such voices 
as those of Oscar Wilde, Marcel Proust, Henry 
James, Mark Twain, Walt Whitman, et al are now 
forever lost, yet the phonograph had been invented 
prior to their deaths. Feeling that “. . . since the 
writings of an author are an expression of his total 
psychic structure, his voice too (no matter of what 
quality) would express in some degree the spirit 
of the written words . . . Thus it is that dulcet tones, 
subtle gradations of volume, dramatic spacing, all 
carefully planned and rehearsed ahead of time, play 
no part in these readings," being, on the contrary, 
casual and exhibiting “unvarnished reality." 

We have quoted liberally from Goddard Lieber- 



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T he Nm; R ecords 


son's preface to this set in the hopes of whetting 
the appetites of many of our readers. In view of 
the price tag, we do not see how this set can be a 
commercial success; yet a more worthy objective 
could scarcely be imagined. It is hardly necessary 
to add that the reproduction on these discs is above 

Israel is Born. Documentary written and narrated 
by Arthur Holzman. 142" disc (*CAEDMON 
TO2014) $5.95. 

CONTENTS: Voices of Chaim Weizmann, David 
Ben Gurion, Ralph Bunche, Mohammed F. Jamali, 
Sir Alan Cunningham, Moshe Sharett, Chief Rabbi 
Herzog, Abba Eban, Count Folke Bernadotte, and 

Arthur Holzman, who was a foreign correspondent 
in the Holy Land from 1947 to 1951, has written, 
edited and narrated this unusual documentary record' 
ing of the birth of Israel. Many of the recordings 
that are included were made on the spot by Mr. 
Holzman. He has done an excellent and exciting job 
in producing the present recording, which is history 
preserved in the modern electronic manner. 

Rostand: Cyrano de Bergerac (excerpts), (in 
French). Herbert Roland and supporting cast 
directed by Eve Daniel. 142" disc (*PE'FRL' 
1526) $5.95. 

For those who have a full knowledge of spoken 
French, these excerpts from Rostand's famous Cyrano 
de Bergerac in its original tongue will hold great 
charm. For those who would like to improve their 
French diction, following this recording with the 
French text which is supplied should be of great help. 


Bach: Sonata No. 1 in G for Violoncello solo. 

One side, and Bach: Sonata No. 3 in C for 

Violoncello solo. Antonio Janigro (violoncello). 

142" disc (*WEST'WL'5217) $5.95. 

There are several recorded versions of Sonata No- 
3 in C but this is the first of No. 1 in G to be 
made available on LP discs. These Sonatas for urn 
accompanied ’cello are sometimes known as Suites, 
probably because they are made up of a half'dozen 
or more short dance movements — Allemandes, Sara' 
bandes, Gigues, etc. The celebrated Italian cellist, 
Antonio Janigro, who is well'known to American 
music lovers because of his many successful recordings 
under the Westminster label, gives performances on 
the present disc that should prove highly satisfactory, 
even to the most critical listeners. 


The World's Encyclopaedia of Recorded 
Music. By Francis F. Clough and G. J. 
Cuming. 890 pp. Sidgwick and Jackson, 
Ltd. (London). Price $17.50. 

The New Catalogue of Historical Records 
1 8984 908/09. Compiled by Robert Bauer. 
494 pp. Published in England. For sale in 
U. S. A. by H. Royer Smith Co. (Philadeb 
phia). Price $7.25. 

The Gramophone Shop Encyclopedia of Re' 
corded Music (Third Edition) . Robert H. 
Reid, Supervising Editor, 639 pp. Crown 
Publishers (New York). Price $2.95. 

The Victor Boo\ of Operas. Revised and edited 
by Louis Biancolli and Robert Bagar. 
xxiv-f-596 pp. Illustrated. Simon and 
Schuster (New York). Price $5. 

Victor Boo\ of Concertos. By Abraham Veinus. 
xxv -f- 450 pp. Simon and Schuster (New 
York). Price $3.95. 

Collectors* Guide to American Recordings 
18954925. By Julian Morton Moses. 
Foreword by Giuseppe De Luca. 200 pp 
Published by the author. Price $3.75. 

I Hear You Calling Me. By Lily McCormack. 
201 pp. Illustrated. The Bruce Publishing 
Co. (Milwaukee). Price $3.75. 

Records: 1950 Edition. By David Hall, ix -f- 
524 -f- xx pps. Alfred A. Knopf (New 
York). Price $6. 

NOTE: All the above books have been reviewed 
in previous issues of The N ew Records. If your local 
dealer does not stock them, orders addressed to H. 
Royer Smith Co., Philadelphia 7, Pa., will be promptly 
filled. The prices quoted include postage to any point 
within U.S.A. 

The first letters In the record number Indicate the manufacturer: AL — Allegro, BG — Bach Guild, C — Columbia, CE — Cetra. CH — Concert 
Hall Society, CL — Capitol, CSM — Colosseum, CRS — Collector’s Record Shop. D — Decca. DL — Dial, ESO — Esoteric, FEST — Festival, 
FOLK — Ethnic Folkways Library, G IOA— Gregorian Institute of America, HS— Hadyn Society, L— London Gramophone. LYR— Lyrl- 
chord, ME— Mercury, OC— Oceanic, OL— L’Oiseau Lyre, PE— Period, PH M— Philharmonia, PLM— Polymusic, REN— Renaissance, SOT— 
Sounds of Our Times, ST R— Stradivari, UR— Urania, V— Victor, VAN— Vanguard, VX— Vox. and WEST— Westminster. 

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PAGE 16 

The Records 


Issued Monthly by 


“The World 9 s Record Shop’’ 


VOL 21 , NO. 1 0 DECEMBER, 1 953 By mail to $1 a 0 n 0 v 

I N OUR SEPTEMBER issue we reported that 
Urania had issued a disc entitled “High 
Fidelity Demonstration Record’' 1 (*UR-URLP- 
7084, $4.17). Apparently this filled a great 
need of the hi-fi enthusiast, for both Capitol 
and Westminster have followed suit and issued 
demonstration records of their own. And the 
redoubtable Emory Cook has come through 
with another of his superior records, this time 
a little gem called “Speed the Parting Guest;” 
he aptly subtitles this one A Hi Fi Bull in a 
Chime Shop . 

The Capitol disc stands out as an absolute 
“must” for the audiophile. Packaged in a plio- 
film envelope contained in a handsome box, 
this record comes complete with a 10-page in- 
sert giving full information about the contents 
of the disc, what to listen for, how to be cer- 
tain your set is reproducing what is on this 
disc and so on; we found especially interesting 
the two pages called “Fidelity and Illusion,” 
written by Charles Fowler, editor of High 
Fidelity Magazine. 

The contents of the Capitol record are : The 
Continental (Ray Anthony Orch.) ; Studies 
in Percussion (Pts. I &? II) (Hal Rees) ; Fog- 
horn Boogie (Dick Stabile & Orch.) ; Song from 
Moulin Rouge (June Hutton with Alex Stor- 
dahl & Orch.) ; Meet Mister Callaghan (Les 
Paul); Quiet Village (Les Baxter 6? Orch.); 
23° — 82° W (Stan Kenton & Orch); Gla- 
zounov: The Seasons — Finale (French Natl. 
Symphony Orch. — Desormiere) ; Bloch : Con- 
certo Grosso — 1st Movement (Pittsburgh Sym- 
phony Orch. — Steinberg) ; Tchaikovsky : Quar' 
tet !N[o. 1 in D minor — 3rd movement (ex- 
cerpts) (Hollywood String Quartet) ; Villa- 
Lobos: T^onetto — Finale (Roger Wagner 
Chorale & Concert Arts Ensemble — Wagner) ; 
Shostakovich : Concerto in C minor — 4th move- 
ment (finale) (Victor Aller, piano, with Con- 

cert Arts String Orch. — Slatkin) ; Copland: 
Rodeo (excerpt) (Ballet Theatre Orch. — 
Levine). 1-12" disc (*CL-SAL-9020) $6.75. 

The Westminster, unlike either the Urania 
or the Capitol, is solely for demonstration. Both 
Urania and Capitol have put whole movements 
or at least “completed” excerpts on their discs. 
Westminster has just given us snatches here 
and there, much like the audiophile might try 
to select from his library, to demonstrate a par- 
ticular point or feature. Therefore, listing the 
contents of this disc would have little meaning; 
suffice it to say that it contains about two min- 
utes of various constant tone frequencies, and 
there are tympani rolls, solo piano, piano with 
orchestra, violin and harpsichord, Flamencan 
guitar, Gypsy violin, French horns, etc. In- 
cluded with this record is a sheet giving the 
equalization curve and a description of each 
excerpt. 1-12" disc (*WEST-DRB) $3.50. 

The Cook Sounds of Our Times record, 
“Speed the Parting Guest,” has a most appro- 
priate title. Drums, xylophone, sirens, tam- 
bourines, a wind machine — you name it, this 
has it when it comes to percussion, even to “1 
Quoddyhead Horn (courtesy U. S. Coast 
Guard).” We can’t imagine the guest who 
could sit all the way through this one. Mr. 
Cook has seen to it that this disc has the most 
faithful reproduction possible — seems a pity, 
though, to waste such lavish technical affection 
on all this noise! 1-10" disc (* SOT- 1041) $4. 

If your local dealer cannot supply any or all 
of these discs, orders addressed to the publish- 
ers of this bulletin will be promptly filled. 


We are continually receiving requests for 
back copies of The New Records. Most of 
the issues published during the last twenty 
years are available. The price is 10c each. A 
file of all of the available issues (at least 140 


T he New lkecords 


copies) is $5. These prices are postpaid within 

NOTE: Those persons interested in recent 
recordings only may secure all of the issues of 
the last three years beginning December 1950 
(36 copies) at the special price of $2 (postpaid 
within U. S. A.) 


Brahms: Quintet Ho. 2 in G, Op. 11. Isaac Stern, 
Alexander Schneider (violins); Milton Katims, 
Milton Thomas (violas); Paul Tortelier (violon- 
cello). One side, and Schumann: Quintet in E- 
flat, Op. 44. Isaac Stern, Alexander Schneider 
(violins); Milton Thomas (viola); Paul Tortelier 
(violoncello); Myra Hess (piano). IT 2" disc 
(*C-ML-4711) $5.95. (TNR Nov. ’53). 

Brahms: Quartet Ho. 3 in C minor, Op. 60. Joseph 
Szigeti (violin); Paul Tortelier (violoncello); 
Myra Hess (piano). IT 2" disc (*C-ML-4712) 
$5.95. (TNR Nov. ’53). 

Brahms: Sextet Ho. 1 in B'flat, Op. 18. Isaac Stern, 
Alexander Schneider (violins); Milton Katims, 
Milton Thomas (violas); Pablo Casals, Madeline 
Foley (violoncellos). IT 2" disc (*C-ML-4713) 
$5.95. (TNR Nov. ’53). 

Casals Festival at Prades (1952). (Vol. I). Festival 
Soloists. 3-12" discs in album (*C-SL-182) $17.85 
(TNR Nov. '53). 

CONTENTS: Quintet Ho. 2 in G, Op. 11; 
Quartet Ho. 3 in C minor, Op. 60; Sextet Ho. 1 in 
B'flat, Op. 18 (Brahms). Quintet in E'flat, Op. 44 

Casals Festival at Prades (1952). (Vol. II). Festival 
Soloists. 4T2" discs in album (*C-SL-183) $23.80. 
(TNR Nov. '53). 

CONTENTS: Quintet in C, Op. 16 3; Trio Ho. 1 
in B'flat, Op. 99; Trio Ho. 2 in E'flat, Op. 100; 
Sonata Ho. 5 in A, Op. 162 (“Duo”); Variations 
on l ‘Troc\’ne Blumen,” Op. 160 (Schubert). 

R. Strauss: Der Rosen\avalier (highlights). V. 
Ursuleac, A. Kern (sopranos); G. von Milinkovic 
(mezzo-soprano); G. Hann (baritone); L. Weber 
(bass); Chorus and Orchestra of the State Opera 
(Munich)— Krauss. M2" disc (*VX-PL-8200) 
$5.95. (TNR Jan. ’53). 

Handel: The Messiah (highlights). Soloists, Luton 
Choral Society and Special Choir, Royal Philhar- 
monic Orchestra — Beecham, with H. Dawson 
(organ). 1-12" disc (*V-LCT-1130) $5.72. (TNR 
Mar. '48). 


Franck: Symphony in D minor. Detroit Symphony 
Orchestra conducted by Paul Paray. 1-12" disc 
(*ME-MG- 50023) $5.95. 

No conductor could be more welcomed before 

American recording microphones than Paul Paray; 
this is the third disc of his to be issued. The re- 
organized Detroit Symphony Orchestra will prove 
keen competition for other American orchestras on 
the basis of what we have heard on these discs. 
His performance of the Franck Symphony is a 
masterpiece worthy of release against any of the 
dozen-odd other LP's in the catalog. Without being 
destructive to the score, he has injected a freshness 
and excitement into the music that others have failed 
to do. Particularly notable is the third and final 
movement, which under Paray's direction is some- 
thing magnificent. There is much clarity in the or- 
chestral playing, revealing parts of the score usually 
submerged in a welter of orchestral noise. This is 
also praise for the playing of the Detroiters, and 
their playing is deserving of the highest praise 
throughout the symphony. The first two movements 
are interpreted along conventional lines, but with 
an urgency and inspiration often missing in other 
performances. We would say this is the best Franck 
Symphony thus far on LP. The reproduction is 
typical of Mercury's Olympian Series, which to us 
is the best series on the market. Of the two dozen 
discs in this series there is not one sub-standard 
item in matters of reproduction (and the perform- 
ances are all worth while too). The Mercury repro- 
duction is a superb balance of realistic solo instru- 
ments, full orchestra sound at any volume, and good 
perspective and resonance. Their smooth surfaces 
never detract from their fine sound. 

Little need be said of the Franck Symphony, 
except to remember that its first performance was 
greeted with hostility and a string of defaming ad- 
jectives. It seems incredible today that this romantic 
work could ever be misunderstood. Will they say 
that about some of today's reviews of new music 
several generations from now? S. 

Mozart: Symphony No. 34 in C, K. 338. One side, 
and Mozart: Symphony No. 38 in D, K. 504 

(“Prague”). Chicago Symphony Orchestra con- 
ducted by Rafael Kubelik. 1-12" disc (*ME-MG- 
50015) $5.95. 

Mozart: Symphony No. 25 in G minor, K. 183. 
One side, and Mozart: Symphony No. 29 in A, 

K. 201. Chamber Orchestra of the Danish State 
Radio conducted by Mogens Woldike. 1-12" disc 
(*HS-HSL-1055) $5.95. 

Mozart: Symphony No. 40 in G minor, K. 550. 
One side, and Haydn: Symphony No. 92 in G 

(“Oxford”). London Symphony Orchestra con- 
ducted by Josef Krips. 1-12" disc (*L-LL-780) 

While nothing new appears on these three discs, 
each is a good disc, and at least one is outstanding. 
The best of the lot is easily the Mercury one of the 
Chicago Orchestra under Kubelik. The discipline of 
this orchestra in this recording is as high as we have 
ever heard it. The “Prague” has long been one of 

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T he New Records 


our favorite Mozart symphonies, and we do not 
recall a more enjoyable performance than this. 
Nothing is overdone or pushed too hard, but it has 
a tremendous amount of energy and a fine razor' 
sharp precision. Such clean and perfect playing is 
a joy. Kubelik has produced a reading of great 
clarity and detail without making one conscious of 
the effort. The reproduction is as near perfection 
as one could wish. Much the same can be said for 
the other side of the disc, Symphony T^o. 34 which, 
like the “Prague" is a three movement work without 
a Minuet. It is a light, gay, unpretentious work 
with a rollicking finale that caps the whole thing 
gloriously. We know of no more enjoyable Mozart 
disc than this one. 

The Haydn Society disc is notable for the fact 
that (according to the program notes) Woldike 
uses a string orchestra consisting of five first violins, 
five second violins, four violas, two violoncelli and 
two contrabassi (with bassoons reinforcing the bass 
line). Each symphony, of course, calls also for 
woodwinds and horns. Playing this after the Mercury 
disc is hardly a fair thing, and we do not recommend 
hearing them together. For those who like a reduced 
orchestra in their Mozart, this disc is a beautiful 
example. Woldike is a man of good taste and fine 
style and he does these works soundly in the idiom. 
The reproduction is very good. 

The London Symphony Orchestra under their 
regular conductor, Josef Krips, plays with style and 
finish on a beautifully recorded London disc. The 
Haydn “Oxford" is as good as several other LP’s 
of the work and better recorded than any of them; 
the Mozart 40th is up against plenty of competition, 
but Krips can hold his own very well. He has an 
easy Viennese touch that manages to probe the 
depths of this work. The result is a fine reading. 
If the coupling appeals to you, this is a good disc 
from the performance and recording standpoints. S. 

Hindemith: Symphonic Metamorphoses on Themes 
of Weber. One side, and Schonberg: (5) Pieces 
for Orchestra, Op. 16. Chicago Symphony Or' 
chestra conducted by Rafael Kubelik. 1 ' 1 2" disc 
(*ME'MG' 50024) $5.95. 

Copland: Appalachian Spring. One side, and 
Copland: El Salon Mexico. Vienna State Opera 
Orchestra conducted by Franz Litschauer. M2" 
disc (*VAN'VRS'439) $5.95. 

Rozsa: Theme, Variations and Finale, Op. 13. 

Royal Philharmonic Orchestra conducted by Mik' 
los Rozsa. One side, and Rozsa: Concerto for 
String Orchestra, Op. 17. London String Orches' 
tra conducted by Miklos Rozsa. M2" disc (*VX' 
PL'7690) $5.95. 

Lovers of modern music attention! First, we have, 
from a technical standpoint, one of the finest hi'fi 
recordings that has come to our notice. It is the 
Mercury record containing the Hindemith and Schon' 
berg selections. In addition to the superb reproduc' 

tion, it contains one of Hindemith’s most popular 
works. It is easy to see why Symphonic Metamor' 
phoses on Themes of Weber should catch the fancy 
of many music lovers. It is bright, sophisticated and 
abounds in pleasing melodies, and it is easily en' 
joyable. However, the Schonberg (5 ) Pieces for 
Orchestra, which dates from 1909 and “has a rhythm, 
as the blood has its pulsating rhythm, as all life in 
us has its rhythm; which has a tonality, but only 
as the sea or the storm has its tonality; which has 
harmonies, though we cannot grasp or analyze them 
nor can we trace its themes," is definitely for those 
who like to expose themselves to the unusual. 

Copland’s Appalachian Spring and El Salon 
Mexico are reasonably welbknown and have been 
generally accepted by discerning American music 
lovers. Vanguard has supplied highly satisfactory 
recordings by the Vienna State Opera Orchestra 
under the brilliant direction of Franz Litschauer. 

The last disc in this group of three will introduce 
to many record collectors the music of the Hungarian 
composer, Miklos Rozsa. Before coming to the United 
States in 1940, his works were well received in 
Europe; and many of them were published by the 
famous firm of Breitkopf and Hartel. At present 
Mr. Rozsa resides in California, where he devotes his 
time to teaching and comopsition. He is a member 
of the faculty of the school of music at the University 
of Southern California. Rozsa states that he is a 
Neo'dassicist and that he has drawn heavily on the 
folklore of his native Hungary for inspiration. The 
samples of Rozsa’s music on the present disc we 
found quite interesting and well worth a second 
hearing. They are in the Hungarian idiom and 
are easy and pleasant to listen to. R. 

Mozart: Symphony No. 4 in D, K. 19. And Mozart: 
Symphony No. 14 in A, K. 114. One side, and 
Mozart: Symphony No. 10 in G, K. 74. And 
Mozart: Symphony No. 11 in D, K. 84. Winter' 
thur Symphony Orchestra conducted by Otto 
Ackerman. M2" disc (*CH'CHS'1166) $5.95. 

Mozart: Serenade in E-flat, K. 375. One side, and 
Mozart: Serenade in C minor, K. 388. Wind 
Instrument Ensemble of the Vienna Symphony 
Orchestra. M2" disc (*VX'PL'7490) $5.95. 

Mozart: Serenade in G, K. 525 (“Eine kleine 
Nachtmusik”). Vienna State Opera Orchestra 
conducted by Felix Prohaska. One side, and 
Schubert: (5) Deutsche Tanze for Strings. 
Vienna State Opera Orchestra conducted by Franz 
Litschauer. M2" disc (*VAN'VRS'435) $5.95. 
Of the making of many Mozart records there is 
no end, and the record companies themselves are 
surprised at the seemingly endless demand for them. 
Such a state leads to recording of previously un' 
recorded works, most of which would not be heard 
at all if were not for records. The first sixteen sym' 
phonies of Mozart are in this category. The Concert 



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Xhe N ew R ecords 

Hall disc is one of four which present the first six' 
ten, four per record, in their first and only record' 
ings. Otto Ackermann maintains a high standard 
of performance and a laudable interpretive level. 
These performances have enthusiasm in an honest 
way that does not inflate the music beyond its true 
stature. The disc is well recorded. 

The Serenades, K. 375 and K. 388, are already 
in the catalogs in two other recordings — each using 
the same couplings. The disc by Kell and his cham' 
ber group (*D'DL'9540) is different from either 
of the others in that it does not have the freedom 
and abandon of the Viennese players. Kell’s, is, 
nevertheless, a valid and worthy pair of performances 
which sound well. The Viennese grouips — the 
present disc and the Wind Octet from the Vienna 
Philharmonic Orchestra (*WEST'WL'5021) — have 
much in common, and we find little to choose be' 
tween them. It is an individual choice between Kell 
and the Viennese groups, and also between the two 
Viennese groups if your taste leans towards their 
style. All three discs enjoy good reproduction. 

The most beloved of all Mozart Serenades, and 
one of his most popular works, is the Eine \leine 
K[dchtmusi\. In well over a dozen LP diskings, only 
a couple emerge as really decent readings. The 
unaffected charm and simplicity of this work eludes 
many conductors. Prohaska’s effort may be credited 
to the better ones. Litschauer offers the second LP 
version of the lovely Schubert German Dances, in 
nicely tailored performances. Vanguard’s reproduce 
tion is good, with too much treble which can easily 
be compensated. S. 

Bruckner: Symphony No. 9 in D minor. Pro 

Musica Symphony (Vienna) conducted by Jascha 
Horenstein. M2" disc (*VX'PL'8040) $5.95. 

Bruckner: Symphony No. 7 in E. Three sides, and 
Franck: Psyche (Symphonic Poem). Amsterdam 
Concertgebouw Orchestra conducted by Eduard 
van Beinum. 2' 12" discs in album (*L'LL'852/3) 

The Bruckner Ninth Symphony, like Schubert’s, 
remained unfinished. Of the last movement only 
sketches survive. They indicate that Bruckner in' 
tended to close his Ninth with a gigantic fugue. 
It was to “the good Lord’’ that Bruckner addressed 
himself in his Ninth Symphony when, at the age of 
70, he felt the approach of death and sought to 
express through his art, the summing up of his life 
and the contemplation of last things (the symphony 
was dedicated “an meinen lieben Gott’’). It is a 
magnificent work for those who can sit down, relax, 
and enjoy the whole work for the music it is. It is 
played here in the original version, not the horribly 
edited versions which are now, fortunately not being 
used. Jascha Horenstein has long been a good inter' 
preter of Bruckner’s music; he offers a beautiful read' 
ing of this work which would be hard to surpass. The 
reproduction is of fine fidelity. 

The Bruckner Seventh Symphony has always been 
one of our favorites of this composer’s works, 
probably because of the superb second movement. 
While this movement is as long as all four move' 
ments of many other symphonies, it is a lovely crea' 
tion. There is much in this symphony that seems to 
stem from religious fervor, and many are the words 
that have been written describing Bruckner’s music 
as gothic edifices of sound and so forth. Eduard 
van Beinum and the Concertgebouw Orchestra play 
this work as profoundly as we ever recall hearing it. 
The tonal quality of the orchestra is notable, with 
the brasses holding up well, and the horns being of 
faithful intonation. Van Beinum has the unhurried 
approach to Bruckner, which may prove ponderous 
in some of the symphonies, but which serves this 
particular one well. We would call it the best 
reading on LP, and that includes the matter of 
reproduction, which London has handled with its 
accustomed skill; it is one of London’s best record' 
ings of the Amsterdam orchestra. Franck’s Psyche 
is the fourth side filler in the album; it is played 
with charming finesse by van Beinum, who omits 
the choral part in this performance. S. 

Shostakovitch: Symphony No. 5, Op. 47. Philhar' 
monic'Symphony Orchestra of New York con' 
ducted by Dimitri Mitropoulos. M2" disc (*C' 
ML'4739) $5.95. 

Shostakovitch: Symphony No. 5, Op. 47. Sym' 
phony Orchestra of Radio Berlin conducted by 
Ernest Borsamsky. M2" disc (*UR'URLP'7098) 

In November 1952 we welcomed the first LP 
recording of this work (*VX'PL'7610) by Horen' 
stein, except for the Columbia transfer of its 78 rpm 
recording by Rodzinski. At that time we lamented 
the fact that there were rather few recordings of 
Shostakovitch symphonies considering their merit. 
We now have two new issues of the Fifth, probably 
the greatest of all his symphonies. Both of these new 
ones supercede previous recordings on the basis of 
reproduction. In matters of performance, at least 
one — Mitropoulos — supercedes the others. Mitro' 
poulos is always at his best in modern scores, and 
he has turned in no more vital and truly magnificent 
reading of any work than we find in this instance. 
He has a few individual touches that point up some 
features rather cleverly. The whole work is ablaze 
from the opening bars with an intensity that is 
usually missing from recorded performances. We 
cannot imagine anyone not getting a real thrill from 
this disc. The music is exciting and the performance 
unflaggingly underlines all the excitement. Colum' 
bia’s reproduction is distinguished for clarity and 
power, and plenty of power with clarity is a very 
desirable asset in this work. 

If it were not for our being so impressed with 
Mitropoulos, we would have more to say about 
Borsamsky and his effort, for it is indeed a valiant 

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0 indicates 45 rpm. 




T he Records 


one of many merits. Borsamsky, give and take a little, 
is the equal of the previous recordings, but to our 
ears he does not match Mitropoulos. The Urania 
reproduction is very hi'fi; on our set it is a bit thin 
and shrill, but on some players this may not be true. 

It would seem, by now, that the days of contro' 
versy about ShostakovitclTs Fifth Symphony should 
be past. Whatever the side issues may be, the music 
emerges as a dynamic work of originality, great 
strength, and also of brilliant wit. This stirring 
music has a positive attitude, a firm belief in life, 
and an admirable balance between poignant melodies 
and passages of flashing brilliance. It stands solidly 
in the line of famous “Fifth” symphonies by the 
greatest composers. S. 

Strauss: Waltzes and Polkas. Pittsburgh Symphony 
Orchestra conducted by William Steinberg. IT 2" 
disc (*CL'P'8222) $5.70. 

CONTENTS: Acceleration Waltz; Adele Waltz; 
Emperor Waltz; Pizzicato Pol\a; Perpetuum Mobile; 
Tritsch'Tratsch Pol\a; Annen Pol\a; Champagne 
Pol\a; Thunder and Lightning Pol\a. 

Strauss: Waltzes. Mantovani and His Orchestra. 
M2" disc (*L'LL'685) $5.95. 

CONTENTS: Blue Danube; Voices of Spring ; 
Roses from the South; Village Swallows; 1001 
Nights; Treasure Waltz; Emperor Waltz; Wine, 
Women and Song; Acceleration; Tales from the 
Vienna Woods; Tou and You; Morning Papers. 

Strauss Miniatures. Columbia Broadcasting Sym' 
phony Orchestra conducted by Howard Barlow. 
M2" disc (*C'RL'3020) $2.98. 

CONTENTS: SeraiVTanze (Reconstructed — Fi' 
lippi); Explosions Pol\a (Reconstructed — Filippi); 
Electrofor Pol\a, Op. 297; Festival' Quadrille; Paro' 
xysmen Walzer; Motoren Walzer; Ballg schichten 
Walzer; Telegraphische Depeschen; Champagner 
Pol\a; Schnellpost Pol\a. 

Johann and Josef Strauss Polkas. Vienna State 
Opera Orchestra conducted by Anton Paulik. 
M2" disc (*VAN'VRS'438) $5.95. 

CONTENTS: Vergniigungszug; Leichtes Blut; 
Frei\ugeln; Unter Donner und Blitz; Tritsch'Tratsch; 
Annen; Eljen a Magyar (Johann Strauss). Feuerfest; 
Frauenherz; Aus der Feme ; Ohne Sorgen (Josef 
Strauss). Pizzicato Pol\a (Johann & Josef Strauss). 

The public never seems to get enough of Strauss 
recordings! Here are four more LP discs containing 
a vast number of selections. Three of them are 
good examples of “high fidelity” reproduction — 
the Columbia recording by Howard Barlow was 
made before “hi'fi” came into the picture; however, 
despite its age it sounds very good and is a good value 
at its low price. 

Stravinsky: Pulcinella Suite. Symphony Orchestra 
of Radio Berlin conducted by Arthur Rother. 
One side, and Respighi: Antiche Danze ed Arie 
per Liuto (Suite No. 3). Chamber Orchestra of 
Radio Berlin conducted by Matthieu Lange. LI 2" 
disc (*URTJRLP'7093) $5.95. 

Stravinsky: Apollon Musagete (ballet). One side, 
and Stravinsky: Pulcinella Suite. Vienna Chamber 
Orchestra conducted by Heinrich Hollreiser. IT 2" 
disc (*VX'PL'8270) $5.95. 

Of the two recordings of Stravinsky's Pulcinella 
Suite we prefer the Urania version. The performance 
and the reproduction both seem superior to us. 
If you do not have a recording of the Respighi 
selection on the reverse side, then we strongly sug' 
gest that you choose the Urania disc. If you do, 
then it will have to up to you to weigh the matter 
and make your own decision. 

Newman: The Robe (Music from the Film). Holly' 
wood Symphony Orchestra and Chorus conducted 
by Alfred Newman, with Carole Richards (alto). 
M2" disc ( *D'DL'9012) $5.85. 

One of the biggest hits on the screen in recent 
months is the 20th Century'Fox production of The 
Robe. Alfred Newman supplied the musical score 
for this outstanding film and he has selected parts 
of it for this recording which he has directed per' 
sonally. For those who have seen the picture this 
recording may mean much, and those, who will 
follow it with the comprehensive notes that Philip 
Dunne, the author of the screen play, has supplied, 
may find it interesting; but others, we should think 
would find it to be too much of a good thing. 
During the picture, we found the music highly 
dramatic and it aided greatly in pointing the story, 
but forty minutes of it without the picture was a bit 
too much for us. 

Beethoven: Concerto No. 3 in C minor, Op. 37. 

Rudolf Serkin (piano) with the Philadelphia 
Orchestra conducted by Eugene Ormandy. IT 2" 
disc (*C'ML'4738) $5.95. 

A short while ago we reviewed a new Beethoven 
Third Concerto performed by Iturbi and did not 
care very much for it. At that time we again extolled 
the merits of the Lili Kraus disc (*VX'PL'7270), 
which has been our preferred reading. With this new 
one by Serkin and Ormandy, the Kraus disc is 
really challenged. Serkin is well known as a per' 
former of Beethoven, and is considered one of the 
best in that field. His reading of the Third could 
do little but uphold his reputation, for it is a splendid 
statement of the score. There is no question about 
the style, and Serkin leaves no doubts about precise 
technical execution. There are none of the loud 



Indicates LP S3 1 /3 rpm. 
0 Indicates 45 rpm. 


The New R ecords 


turns and other annoying mannerisms of the Iturbi 
playing. As for the accompaniment by Ormandy 
and the Philadelphians versus soloist Iturbi conduct' 
ing the RCA Victor Orchestra, there is everything in 
favor of the orchestral portion of Serkin’s disc. 
Columbia has achieved a fine balance between solo 
instrument and orchestra, as well as a nice quality 
of piano tone. For those who own the Kraus disc, 
there is no need to regret it or consider a change; 
for those who are about to add this masterwork 
to their library, a hearing of both Kraus and Serkin 
is indicated, and well worth while. The choice of 
the existing LP’s of the Third is clearly between 
these two versions. 

Although it was composed in 1800, the Third 
Concerto was not performed until 1803. Beethoven 
was thoroughly aware of the great strides he had 
made in this work over the two earlier ones, and 
he delayed its publication until 1804, a year after 
its performance, so that he and no other might, 
for a time, be the one to perform it. “Musical policy 
necessitates keeping the best concertos to oneself 
for a while," he wrote his publishers. Things have 
changed; we doubt whether any contemporary com' 
posers would figure it that way. Times have also 
changed in the matter of concert programming. The 
first performance of the Third took place in Vienna 
with the composer as soloist. The program also 
included Beethoven’s first two symphonies and his 
oratorio The Mount of Olives. S. 

Rachmaninoff: Concerto No. 2 in C minor. Edith 

Farnadi (piano) with the Vienna State Opera 

Orchestra conducted by Hermann Scherchen. 

M2" disc (*WEST'WL'5193) $5.95. 

Edith Farnadi, born in Budapest, began piano 
studies at the age of 7 years at the Budapest 
Academy. With a debut as a child prodigy at 9, 
she progressed continually, playing the Beethoven C 
major Concerto at 12 (directing the orchestra from 
the piano), and receiving her diploma at 17. During 
her studies at the Academy she won the Franz Liszt 
prize twice. From the time she received her diploma 
she became a professor at the Academy, where she 
remained until 1942. Since then she has concertized 
widely all over Europe. During her student days 
she had been a partner with the great violinist, 
Hubas, and played many times with Hubermann. 

Miss Farnadi’s playing in the Rachmaninoff Con' 
certo ?V[o. 2 is something undeniably great. Techni' 
cally, she is of the first rank, and she has a goodly 
amount of power — power of good quality, not 
pounding. Her dynamic range is exceptional, which 
is, in turn, part of her interpretive assets. Miss 
Farnadi plays this work with a richly romantic style 
that goes the limit without becoming maudlin or 
destructive to the score. We thoroughly enjoyed 
her performance of the work. We believe this per' 
formance would have been one of the best on 
records, were it not for the detracting influence of 

conductor Scherchen, particularly in the first move' 
ment. His idea of the music is maudlin, and we 
rather imagine his idea prevailed over the soloist. 
She seems to have won a small victory in the second 
and final movements. Westminster’s reproduction 
is superb in every respect. 

There are numerous other LP’s of this work, 
ranging from the authoritative though feebly repro' 
duced version by the composer himself, through 
readings by Sandor, Smith, Rubinstein, and Katchen, 
to the brilliant performance by Kapell. Most persons 
will find it a choice between Kapell or Farnadi. S. 

Tchaikovsky: Concerto No. 1 in B-flat minor, Op. 

23. Shura Cherkassky (piano) with the Berlin 

Philharmonic Orchestra conducted by Leopold 

Ludwig. M2" disc (*D'DL'9605) $5.85. 

Whatever may be said of a new version of the 
Tchaikovsky Concerto ?^o. 1 at this point would 
hardly be as interesting as to say that this one is 
something entirely new and different. In all our 
listening experience we cannot recall ever having 
heard a performer take an overworked and thread' 
bare piece such as this and make it sound like some' 
thing new and great. The remarkable thing is that 
he has done this by disregarding former virtuoso 
notions of the music and beginning from scratch in 
a brand new type of thinking. The result is a more 
faithful exposition of the music as written than we 
have previously heard. As is so often the case when 
an interpreter comes up with a fresh slant on the 
music, it stems from a slower tempo. Where most 
pianists race through the work, Cherkassky adopts 
a more logical, even tempo, which results in fewer 
tempo changes and excessive rubatos. It is difficult 
to describe in detail just what Cherkassky has done, 
but it can be said that from the very start, right 
through to the final pages, he has re'evaluated the 
whole work. The result is easily the most enjoyable 
performance in our memory, and the outstanding 
feature of the whole effort is that the music is more 

Cherkassky was born in Odessa, Russia, in 1911. 
He received his early musical training from his 
mother, who was herself a concert pianist. Follow' 
ing his emigration to America, Cherkassky studied 
at the Curtis Institute in Philadelphia under the 
world'renowned pianist, Josef Hofmann. We would 
imagine that some of the artist’s remarkable thinking 
is a product of his studying under Hofmann. As far 
as his technique is concerned, it is of the very best; 
you never heard more beautiful passage work, as 
pearly and smooth as possible. And his dynamic 
graduations are superb, with fortissimo effects that 
have tone, and are not pounded out. 

Leopold Ludwig is in line for a good share of 
praise in this effort. His accompaniment is as beauti' 
ful as the soloist’s performance. There are orchestral 
details heard for the first time in this recording. We 
urge anyone who has ever liked this work to hear 

* indicates LP S3 1/3 rpm. 
0 Indicates 46 rpm. 




The Nm Records 


this unusual performance, which is also a fine bit 
of reproduction. S. 

Dvorak: Concerto in A minor, Op. 53. One and 
one-half sides, and Gliere: Romance for Violin 
and Orchestra, Op. 3. David Oistrakh (violin) 
with the State Orchestra of the USSR conducted 
by Kiril Kondrashin. 1-12" disc (*VAN-VRS- 
6016) $5.95. 

David Oistrakh has become something of a 
legendary figure in this country via his recordings. 
Certainly it is a capable technician that emerges 
from this disc; but it is difficult to judge his musician- 
ship from a concerto such as the Dvorak, for it is 
essentially a virtuoso piece (Joachim had a consider- 
able part in shaping the final version) and as such 
receives “the treatment." 

The general lines of this recorded performance 
follow the traditional manner; in fact, unless the 
soloist decides to be plain arbitrary, there is little 
else he can do — it is not great music in the sense 
that the violin concerti of Beethoven or Sibelius 
are — it is more in the Tchaikovsky-Glazounov class. 

Admirers of the concerto will probably already 
have purchased the Milstein version on RCA Victor, 
so it remains for the enthusiasts of Oistrakh’s style 
to buy this disc which, incidentally, has a dividend 
in the form of Reinhold Gliere's Romance for Violin 
and Orchestra, a melodious, if somewhat innocuous, 
effusion, but played superbly. 

Kiril Kondrashin keeps a firm hand on the orches- 
tral forces and, considering the “eminence” of the 
soloist, even on the whole performance. The quality 
of the recorded sound, while better than most USSR 
efforts, is still below average as we expect it in this 
country. W . 

Conus: Concerto in E minor. Three sides, and 
Chausson: Poeme, Op. 25. Jascha Heifetz (violin) 
with the RCA Victor Orchestra conducted by 
Izler Solomon. 3-7" discs in box (0V-WDM- 
7017) $3.99. 1-10" disc (*V-LM-7017) $4.67. 
NOTE: For review of this disc see under VIOLIN. 


Berlioz: Lelio; or, The Return to Life, Op. 14b. 

(Sung in German, French and Italian.) (Pt. II 
of “Symphonie Fantastique”). Joachim Kerol 
(tenor), Gabriel Bacquier (baritone), Orchestra 
and Chorus of the New Paris Symphony Associa- 
tion conducted by Rene Leibowitz, with Andre 
Charpak (narrator). 1-12" disc (*VX-PL-8250) 

It was on 9 December 1832 that Berlioz, just 
returned from his stay in Italy (required under the 
provisions of the Prix de Rome scholarship) was 
able to present this work which he pieced together 
from some earlier compositions too good to be 
abandoned, as a sequel to his Symphonie Fantistique. 
Lelio; ou, le Retour de la Vie is cast in the form 

of a “melologue,” a procedure he borrowed from 
Thomas Moore, the Irish poet; later editions, how- 
ever, describe it as a “lyric monodrama. Lelio 
consists of six musical movements separated by six 
monologues; the musical portions may be described 
as follows: (1) a ballad with pianoforte accompani- 
ment (This is Goethe’s poem Der Fischer which 
Berlioz set to music in 1827); (2) a meditation for 
chorus and orchestra (The Choeur des Ombres from 
the prize cantata Cleopatre written in 1829); (3) a 
scene from brigand life for chorus, single voice and 
orchestra (originally thought to be a Pirate Song 
written in 1828); (4) A song of happiness for single 
voice with orchestral accompaniment at beginning 
and end and in the middle the right hand of a harp 
accompanying the air (the Chant de Bonheur 
originally in the Orpheus cantata dating from 1827); 
(5) the last sighs of the harp for orchestra alone 
(La Harpe eolienne — souvenirs); and (6) the over- 
ture to The Tempest for chorus, orchestra and 
piano for four hands ( Fantasie stir la Tempete de 
Shakespeare written in 1830). 

This magnificent music is joined together by the 
six monologues that range over such subjects as 
“the delights of a life of freedom; the evanescence 
of happiness, the magical effects of the sounds of 
Nature, the genius of Shakespeare and the sins of 
critics who damn or rearrange masterpieces. 

In the limited space at one’s disposal in these 
columns it is impossible to do justice to the extra- 
ordinary conception that was Berlioz . The per- 
formance under Rene Leibowitz is a convincing one. 
Joachim Kerol, the tenor soloist, while not the pos- 
sessor of a great voice, sings his two solos with real 
feeling and genuine musicianship. The chorus, 
especially in the Tempest section, is superb. The 
recording is good and the texts are supplied. 

Because this disc contains some of the most 
unique music ever written, it must be borne in mind 
that Berlioz’ creation must be approached in com- 
plete sympathy and understanding before it will 
reveal its many beauties and its unique character. 
The record is certainly a must for all Berliozians, 
for those who own the Symphonie Fantastique and, 
as Berlioz himself wrote, in another connection, 
“for all who have ... a heart and blood in their 
veins.” W. 

Dubois: The Seven Last Words of Christ. (Sung 
in Latin). Margo Stagliano (soprano); Carl 
Nelson (tenor); Mac Morgan (baritone); the 
Boston Chorale conducted by Willis Paige, with 
Reginlad Foort, playing the organ at Symphony 
Hall (Boston). 1-12" disc (*SOT-1094) $5.95. 
This is a long awaited -first LP recording of 
Francois Dubois’ cantata Trie Seven Last Words of 
Christ. Long a popular favorite with church choirs 
over the country, this corner looked forward with 
considerable interest to the performance and the 



* indicates LP 331/3 rpm. 
0 indicates 45 rpm. 


The Nm R ecords 



It was with a feeling of growing disappointment, 
however, that one. listened to the performance. The 
first fact that became apparent was that this produc' 
tion is a singularly undramatic one. Neither soloists 
nor conductor Paige give any sense of immediacy 
to the work; nor is there any real conviction on the 
part of the chorus. Now, Dubois’ cantata can not 
survive such cavalier treatment for, despite its wide 
popularity, it is not great music; consequently more 
importance than usual is attached to the interpret ive 
qualities evinced in a given performance. 

The soloists have excellent voices. Miss Stagliano 
exhibits a clear, lyric soprano that falls pleasingly on 
the ear. Mac Morgan, the baritone, is also a sure 
vocalist, as is Carl Nelson. None, however, sing 
with any degree of expression, the chief offender 
being, perhaps, Morgan, to whom falls one of the 
plums of the score, Deus meus (God, my Father ) 
which he sings in most commonplace fashion. 

Considerable mention is made on the jacket about 
both performance and recording — there are notes 
as low as 16 cycles per second, and so far as the 
performance is concerned, everything was supposed 
to have “clicked” in exemplary fashion. Well, cer' 
tainly the bass portion of the disc is very well done, 
but the high end left a lot to be desired. This re' 
viewer played the disc on reasonably “hi'fi” equip' 
ment (GE pick'Up with diamond stylus; Brociner 
front end; Williamson'type power amplifier; Bozak 
speakers) and there was an edgyness about the voices 
that was unpleasant. 

Taken by and large the disc was both a musical 
and a technical disappointment; and the fact that it 
is sung in Latin does not help matters any. W. 

English Medieval Carols and Christmas Music. 

The Primavera Singers of the Pro Musica Antiqua 
of New York directed by Noah Greenberg. 1'12" 
disc (*ESO'ES'521) $5.95. 

CONTENTS: Nowell sing we; Ave Maria; Gloria 
and Alleluia; Lullay lullow; What tidings bringest 
thou, messenger 1; Marvel not, Joseph, on Mary 
mild; Alma redemptoris Mater; Ma\e we joy now 
in this fest; Nowell, Nowell, tidings true; Sancta 
Maria; Hail, Mary, full of grace; Ave Rex angelorum; 
Tibi laus, tibi gloria; Beata progenies; Nova, nova. 
Morley: Madrigals. The Primavera Singers of the 
Pro Musica Antiqua directed by Noah Green' 
berg, with Blanche Winogron (virginals). IT 2" 
disc (*ESO'ES'520) $5.95. 

CONTENTS: Sing we and chant it; Cease, mine 
eyes; Now is the month of maying; Barafostus * 
dreame (virginals); Miraculous love's wounding; 
Now is the gentle season freshly flowering; Galiarda 
(virginals); I go before, my darling; Lady, those 
cherries plenty; Phyllis, I fain would die now; My 
bonny lass she smileth; Lo, she flies when I woo her; 
Irishe dumpe (virginals); Leave this tormenting and 
strange anguish; Goe from my window (virginals); 

Clorinda false, adieu, thy love torments me; Can shee 
(virginals); Fire! fire! my heart! 

With new LP records being released fast and 
furiously, it is likely that these two discs, issued with 
little fanfare, might be overlooked in the general 
hoopla. So, at the very outset it must be mentioned 
that anyone interested in old music will find them 
a must, while those who have not yet made the 
acquaintance of the Elizabethan madrigal nor Renais' 
sance music are urged to investigate. 

The first record, devoted to English Medieval 
Carols and Christmas music is a perfectly delightful 
experience. There are some fifteen selections re' 
corded, the majority of which can be ascribed to 
no known composer; Dunstable and his contem' 
porary, Lionel Power, are the only two exceptions. 
The notes emphasize the fact that these polyphonic 
carols are not primitive efforts to harmonize old 
folk melodies but are “fully developed examples of 
a fine contrapuntal technique written at a time when 
England was among the musical leaders of the 
world.” It can be further noted that they are as 
characteristic of England's musical genius as the 
much better known Elizabethan madrigals. 

It is the Elizabethan madrigal, as exemplified in 
the work of the great Thomas Morley (1557T603), 
that occupies the second record. There are some 
fourteen madrigals recorded here, including the 
famous Fire! fire! my heart!; Sing we and chant it; 
and Now is the month of maying. These and the 
other madrigals are interspersed with interludes on 
the virginals, making the disc a real concert of 16th 
century music. Listening to these madrigals, one can 
almost experience the intensity of the period, can 
almost feel, as Charles Morgan wrote, “the Eliza' 
bethan’s terror of youth’s departure and to partici' 
pate in that exquisite insanity of passion that gave 
. . . their lyrics (such) a charged melancholy.” 

These two records are the work of the New York 
Pro Musica Antiqua, an ensemble specializing in 
music of this era. It is perfectly done, the spirit, 
style and over'all atmosphere leave nothing to be 
desired. In addition there are adequate notes, texts 
and superior recording — all of which make them 
particularly desirable additions to a welbrounded 
record library. W. 

Orff: Carmina Burana (Pt. I of “Trionfi”). (Sung 
in Latin and in Medieval German). Elfride 
Trotschel (soprano); Paul Kuen (tenor); Hans 
Braun, Karl Hoppe (baritones); Bavarian Radio 
Orchestra and Chorus conducted by Eugen Jo' 
chum. M2" disc (*D'DL'9706) $5.85. 

The music, if not the name, of Carl Orff (1895' 
) will, in all likelihood, be new to most 
American phonophiles. He has been described, by 
Henry Pleasants, as one of “the most radical and 

* Indicates LP 83 1/S rpm. 
0 indicates 45 rpm. 




The N^z£/ R £cords 1953 

. . . reactionary of contemporary composers.” Orff’s 
sources are, however, not those of the twelve'tonists 
or anything remotely resembling them; rather he 
goes back to musical antiquity, to Gregorian Chant, 
to Greek and even Oriental music. It is not, how' 
ever, “an effort at imitation, but rather a search 
for the essential elements of music.” 

Carmina Burana is the first part of the tryptich 
“Trionfi” and was first produced at Frankfurt in 
1937. It consists of three sections: In Springtime; In 
the Tavern and The Court of Love. There is a 
sort of prologue, Fortune, Empress of the World 
which is also used as a reprise. The other parts of 
the tryptich, Catulli Carmina and Trionfo di A frodite 
date from 1943 and 1951 respectively. The “book” 
of twenty'five poems for Carmina Burana was 
selected from a remarkable collection of 13th century 
poetry found in 1803 at the Bavarian monestary, 
Benedictbeuren. The poems were written by a group 
of anonymus minstrels, goliards, errant students 
and defrocked monks, a motley, antisocial crew, 
who apparently had little respect for honor or pos' 
sessions, but were devoted to play, women, wine, 
quarreling and fighting. 

The musical settings for these twenty'five lyrics 
constitute some of the most remarkable modern 
music this reviewer has ever heard. The music of 
Carmina Burana shows the influence, primarily of 
“Gregorian Chant and the songs of troubadors and 
minnesingers.” The orchestration is extremely inter' 
esting with its varied syncopations and old fash' 
ioned intervals and somewhat bizarre effects as, for 
example, the wonderful dance movement that has 
a section scored for flute and tympani. The work 
is melodious throughout and interest never flags — 
on the contrary this writer found it fascinating. 

The Bavarian Radio Orchestra, Chorus and soloists 
under Eugen Jochum give what may be considered 
a definitive performance. The soloists include Elfride 
Trotchel, who sings in an incredibly beautiful 
fashion, particularly in the amazing Dulcissime ; bari' 
tones Braun and Hoppe who do well, indeed; and 
a strange tenor (whom one suspects of singing, 
deliberately, in a weird falsetto) who sounds like 
an alto. The chorus bears the brunt of the work and 
is a beautifully trained organization that sings ex' 
pressively and with rare precision. 

The recording has been deftly accomplished and, 
while not screamingly high fidelity, is very success' 
ful. English texts are furnished as well as an all 
too brief note on Orff and his work. W. 

Massenet: Werther (complete). (Sung in French). 
Agnes Leger (soprano); Suzanni Juyol (mezzo' 
soprano); Charles Richard (tenor); Roger Bourdin 
(baritone); Chorus and Orchestra of the Theatre 
National de l’Opera'Comique de Paris conducted 
by George Sebastian. 3' 12" discs in album (*UR' 
URLP'233) $18.50. 

A prized possession of many record collectors (the 

writer included) for a number of years was the 
French Columbia complete recording of Massenet’s 
Werther. The cast included Ninon Vallin (an in' 
comparable Charlotte) and Georges Thill in the 
title role. In anticipation of this new LP release, 
the old set was dusted off and the high spots (duet 
end of act one, the aria Pourquoi me revieller and 
the last act among other portions) were played. 
It still was superb interpretively but sounded a little 
thin in tonal quality. 

It came, then, as an unpleasant surprise to dis' 
cover that Urania’s new recording was, artistically 
speaking, very inferior. That it would be less 
successful from a vocal standpoint is understandable 
but what one did not expect was the routine, almost 
offhand, performance achieved by Sebastian and his 
cast. Admittedly Massenet’s score is not great music; 
admitted, too, is its dependence on top flight singers; 
but it is difficult to realize it could sound so false, 
so scented, so lacking in any semblance of reality. 
Werther’s agonizing is scarcely bearable in this per' 
formance and Charlotte’s “prissiness” is equally 

Charles Richard in the title role is weak — he is 
unable to realize any part of the character except 
the pathological self'pity of the (save the mark!) 
hero. Vocally he is wooden with a tendency to force 
his upper register. Suzanni Juyol is an unconvincing 
Charlotte. Her voice is rather hard and a bit over' 
sophisticated for the little country girl she is sup' 
posed to portray. Agnes Leger is a light soprano, 
inclined to be a bit shrill and is, at times, far too 
“cute” as Sophie. Others in the cast are adequate 
but uninspired. 

George Sebastian does little to help matters. His 
direction is pedestrian, and he makes nothing of the 
orchestral portions of the score which contain some 
real “purple patches” after the manner of Berlioz. 
Good recording, a complete libretto and some notes 
on the artists only serve to accentuate the set’s musical 
and artistic failings. W. 

Schubert: Der hausliche Krieg (complete). (Sung 
in German). Soloists, Akademie Kammerchor and 
Pro Musica Symphony (Vienna) conducted by 
Ferdinand Grossman, l'l 2" disc (*VX'PL'8160) 

Here is a musical and phonographic rarity — an 
opera by Franz Schubert. It has always seemed 
strange, at least superficially, that Schubert, the com' 
poser of many dramatic songs, was never successful 
in the operatic field. Der hausliche Krieg (originally 
Die V erschworenen) is one of eighteen operas he 
wrote and was completed in 1825. The libretto is 
a hash made up from two comedies of Aristophenes’, 
one of which is the famous Lysistrata, the author 
of the outrage being Ignaz Franz Castelli. Time, 
places and characters have been shuffled about in a 
manner that defies description; for example Lystritata 
becomes a German baron’s wife! 

The music for all this, fortunately, has not been 



Indicates LP 33 1 /S rpm. 
0 indicates 45 rpm. 



"The N ew Records 

tainted by the foolishness of the book and is pure, 
lyrical Schubert: curiously undramatic but delicate 
and lovely. The cast of singers is in no way excep' 
tional, the best being Elisabeth Roon. Ferdinand 
Grossmann keeps his forces under control and moves 
the score along in musical fashion. 

One comes away from the record with the sort 
of feeling that was expressed by Mozart so poignantly 
when he said, on being paid for some dances he 
wrote, “Too much for what I did, too little for 
what I could do.’” The complete absence of informal 
tion about the edition used in the recording (the 
notes do mention the existence of four versions) 
plus the omission of the text make the disc worth 
something less than the asking price. With adequate 
information it could be a highly enjoyable and in' 
formative musical experience. Vox's recording is 
good. Truly this release is almost as much a mixture 
of good and bad as is the opera itself. W. 

Charpentier: Louise (abridged). (Sung in French). 
Ninon Vallin, Christiane Gaudel (sopranos); A. 
Lecouvreur (mezzo ' soprano) ; Georges Thill 
(tenor); Andre Perner (baritone); Raugel Chorus 
and Orchestra conducted by Eugene Bigot. 2' 12" 
disc in album (*C'EL'7) $7.57. (TNR May ’36). 

Verdi: Falstaff (complete). (Sung in Italian). Pia 
Tassinari, Ines Alfani Tellini, Aurora Buades 
(sopranos); Rita Monticone (mezzo'soprano) ; 
Robert d’Alessio, Giuseppe Nessi, Emilio Vem 
turini (tenors); Giacomo Rimini, Emilio Ghirar' 
dini (baritones); Salvatore Baccaloni (bass); 
Chorus and Orchestra of La Scala (Milan) con' 
ducted by Cav. Lorenzo Molajoli. 2' 12" discs in 
album (*C'EL'8) $7.57. (TNR Nov. ’36). 

Massenet: Manon (complete). (Sung in French). 
Germaine Feraldy (soprano); Joseph Rogatchew' 
sky (tenor); Louis Guenot (bass); Soloists, Chorus 
of the Opera'Comique (Paris) and Symphony 
Orchestra conducted by Elie Cohen. 3' 12" discs 
in album (*C'EL'6) $10.55. 

Columbia issues this month, in a somewhat off' 
hand manner, three operas from its old operatic series: 
Louise (in an abridged version made by the obliging 
composer), Manon and Falstaff. The off'handedness 
consists in Columbia’s neglect to identify the singers 
with their roles and the complete absence of any 
explanatory note concerning the music. Now, at 
these low prices one should not expect too much; 
but, while it is admittedly an old'fashioned idea, 
this reviewer was brought up on the principle that 
anything worth doing was worth doing well. Even 
at the risk of have to charge an additional fifty 
cents, some explanation and identification would be 
well worth while. 

Of the three sets the Louise is the best from a 
vocal standpoint. A trio of singers comparable to 
Vallin, Thill and Pernet would be difficult to find 
today. Their singing of Charpentier’s chief claim 

to fame is definitive. One would be hard put to 
imagine a performance that captures the flavor and 
idiom of the work as well as this one does. It is 
decidedly worth owning. 

Falstaff suffers from its early recording. The old 
discs do not sound too good in their LP dress; and, 
while the performance is an excellent one (Rimini 
as Falstaff and Tassinari as Mistress Ford are very 
good), it is well nigh impossible to tolerate the 
muddy sound in these days of so much greater 

M anon features the singing of the late Germaine 
Feraldy in the title role and Josef Rogatchewsky as 
des Grieux. The performance, like so many made 
in the early thirties, is really a fine one (they took 
pains with both performance and recording in those 
days) but the sound has grown very old indeed. 

All these sets have libretti, nothing more. All, 
with the exception of Louise, will be of interest 
primarily to antiquarians or bargain hunters, despite 
their artistic excellence. Anyway, there is a passable 
Falstaff (on Cetra) and a pretty good M anon (Lon' 
don) and, one strongly suspects, a new Louise will be 
in the offing soon. W. 

Stravinsky: The Rake’s Progress (complete). (Sung 
in English). Soloists, Chorus and Orchestra of the 
Metropolitan Opera Association conducted by 
Igor Stravinsky. 3' 12" discs in album (*C'SL'125) 


Anne Trulove Hilde Gueden (s) 

Baba the Turk Blanche Thebom (c) 

Tom Rakewell Eugene Conley (t) 

Nick Shadow Mack Harrell (bt) 

Mother Goose Martha Lipton (ms) 

Trulove Norman Scott (bs) 

Sellem, Auctioneer Paul Franke (t) 

Keeper of the Madhouse. . .Lawrence Davidson (bs) 

In view of the fact that The Ra\e’s Progress has 
been performed more than two hundred times since 
its premiere in Venice on 11 September 1951, the 
leading critics on both sides of the Atlantic have 
had ample opportunity to appraise this work; most 
of them have written at length about this controver' 
sial new opera. The trend of the criticism that we 
have read seems to be that The Race’s Progress is 
“old hat’’ and not very good “old hat’’ at that. 
It is thought that Stravinsky looked back to Handel 
and Mozart without fully grasping the technique of 
these early operatic composers and has produced 
a very uneven score, some of which is almost urn 
singable. Robert Craft, who has supplied the copious 
notes that accompany this recording, is doubtless 
aware of this unfavorable criticism and has at' 
tempted to answer it in the section of his notes 
marked “An Appreciation of the Music.’’ Whether 
he has answered it satisfactorily each music lover 
must decide for himself. 

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0 indicates 45 rpm. 


PAGE 10 


The Nw R ecords 


In a foreword to the notes, Stravinsky indicates 
that he is satisfied to rest the case with this recording, 
for he writes: “The chief value of a recording to 
the composer is in the fact that it is a ‘record,’ a 
document of his wishes respecting his own music.” 

No pains have been spared to make this recording 
as fine as possible both musically and technically; we 
doubt very much whether a better performance of 
this work has been given than the one that has been 
recorded on these LP discs. Here is The Race’s 
Progress with its best foot forward; its popularity 
among record collectors is in your hands. 

Verdi and Mozart Arias. Ezio Pinza (bass) with 

RCA Victor Orchestra. 4'7" discs in box (0V' 

WDM'1751) $5.14. M2" disc (*V'LM'1751) 


CONTENTS: Don Carlo — Ella giammai m’amo 
(recit.), Dormiro sol nel canto mio regal (aria); 
Simon Boccanegra — A te l’estremo addio (recit.), 
II lacerato spirito (aria); Ernani — Che mai vegg’io! 
(recit.), Infelice! e tu credevi (aria); J\[abucco — 
Vieni, o Levita! (recit.), Tu sul labbro dei veggenti 
(aria); I Vespri Siciliani — O patria (recit.), O tu, 
Palermo (aria); Don Giovanni — Madamina, il cata' 
logo; Don Giovanni — Deh, vieni alia finestra; Don 
Giovanni — Finch’ han dal vino; Le K[ozze di Figaro — 
Non piu andrai; Le ?s[ozze di Figaro — Se vuol bah 
lare; Die Zauberflote — Possenti Numi; Die Zauber' 
flote — Qui sdegno non s’accende. 

Ezio Pinza returns to the RCA Victor label with 
an impressive collection of Verdi and Mozart arias 
that serve to demonstrate the qualities that have 
made him one of the most popular artists ever to 
sing in this country. These arias are all well sung, 
by any standards, and Mr. Pinza’s voice has with' 
stood the ravages of time and South Pacific very 
well indeed. 

This reviewer had considerable curiosity concern' 
ing the Don Carlo and Vespri Siciliani for they were 
among the first selections Pinza recorded in this 
country and they were released back in the dear dim 
days of 1926. Still having the discs, the writer did 
what might have been an ungenerous thing — he 
played it right after the current LP and, while almost 
thirty years have elapsed, Pinza still has an amazing 
amount of voice left and, what’s more, he is much 
more of a “smoothie” than in the old days. 

The actual style of singing hasn’t changed, ah 
though some of the tempi are faster. Whether this 
is due to our generally increased speed of living or, 
as is sometimes the case, they were quickened to 
make for easier singing is difficult to say. In all 
events, the Verdi arias emerge as welhconsidered, 
slightly understated but exquisitely sung perform' 
ances. Most successful are the Simon Boccanegra and 
K[abucco excerpts although the Ernani and Vespri 
Siciliani pieces have lost none of their charm. 

The Mozart numbers are also highly successful, 
a sparkling Madamina, an almost crooned Serenata 

(very effective, this) and a rousing Finch ’ han dal 
vino lead the parade. The J^ozze di Figaro excerpts 
are a bit on the heavy side and lacking in humor. 
The two arias from Zauberflote are good but not 
especially distinguished. Orchestral support for the 
Verdi is superbly handled by Erich Leinsdorf while 
the Mozart accompaniments are in the expert hands 
of Alfred Wallenstein. 

This is one of the best discs yet issued of Ezio 
Pinza’s art and should receive a warm welcome from 
his legion of admirers. W. 

Celebrated Tenor Arias. Richard Tucker (tenor) 

with the Orchestra of the Metropolitan Opera 

Association. M2" disc (C'ML'4750) $5.95. 

CONTENTS: La Traviata — De’ miei bollenti 
spiriti; Andrea Chenier — Come un bel di di maggio; 
L’Africana — O Paradiso; Faust — Salut! demeure; 
L'Elisir d' Am ore — Una furtiva lagrima; La Boheme — 
Che gelida manina; Carmen — Air de fleur; La Gio' 
conda — Ceilo e mar; Un Ballo in M aschera — Forse 
la soglia attinse (recit.), Ma se m’e forza perderti 

This sort of record always offers a problem to 
this reviewer. Obviously it is aimed at a particular 
market: the admirers of Richard Tucker; and since 
the writer can not be numbered among this group, 
he is hard put to be impartial or dispassionate. Thus, 
one can begin by saying that Tucker fans will have 
cause to rejoice, for the celebrated tenor is in good 
voice and is well recorded. 

Musically the nine arias are all of a piece. There 
is no difference between his singing of Salut! 
demeure, chaste et pure and the very different Air 
de fleur. A complete lack of understanding of the 
situation or an inability to project the feeling of the 
words characterizes most, if not all, of the per' 
formances recorded here — which, incidentally, is the 
reason this reviewer can not be numbered among 
Mr. Tucker’s admirers. As a case in point, listen 
to the sobbing and gulping in the exquisite Una 
furtiva lagrima. It is sung in the opera by Nemorino, 
who has chanced to see a tear on the cheek of Adina, 
his sweetheart who, for operatic reasons, has been 
very cool towards him until she learns he is going 
to join the army. Now, the tear is Adina’s, not 
Nemorino’s, but what happens? Tucker sings the 
aria as if the tear were his own, with sundry gulpings 
and goings on. It is difficult to understand why 
either Mr. Tucker or the conductor was not able 
to get it straight. It can only be assumed that here, 
as has been the case all too frequently before, no one 
was interested. Incidentally, neither Fausto Cleva 
nor Emil Cooper provide other than routine orches' 
tral support. 

Which brings us back to- the beginning — this is a 
record for those partial to Richard Tucker. Others 
are advised to look elsewhere for good performances 
of these popular, but none the less great, operatic 
arias. W. 



indicates LP 331/3 rpm. 
0 indicates 45 rpm. 



^he ^New R ccords 

Puccini: Manon Lescaut (complete). (Sung in 
Italian). Clara Petrella (soprano); Vasco Cam' 
pagnano, Tullio Pane, Tommaso Soley (tenors); 
Ortensia Beggiato (meszo'soprano); Saturno Me' 
letti (baritone); Pier Luigi Latinucci, Mario An' 
selmi, Piero Poldi (bases); Chorus and Orchestra 
of Radio Italiana conducted by Federico del 
Cupolo. 3 ' 1 2 " discs in album (*CE'C'1243) 

This is the second LP version of Puccini's M anon 
Lescaut, although it is the first actually to be made 
for LP. The earlier version, a dubbing from older 
78's, was issued by Columbia and noted in a 
previous issue of The New Records (August 

Naturally, this newer recording takes precedence 
over the earlier one from a technical angle. Vocally 
it is certainly the equal and, in some instances, 
superior to the older set. In the title role Clara 
Petrella gives a fine performance. Her welhplaced 
lyric soprano is equal to all ocacsions, and she also 
demonstrates her extra'musical abilities by showing 
considerable insight into the character of the un' 
happy Manon. As her lover, the Chevalier des 
Grieux, Vasco Campagno proves to be a better than 
average tenor who, even in the impassioned Guar' 
date, pazzo son, guardate! does not lose sight of 
the fact that he is a singer first and an actor second — 
in short, he does not gulp and indulge in foolish 
histrionics. As Manon's brother, Saturno Meletti 
gives a good account of both the role and himself, 
while others in the long cast are usually more than 

Federico del Cupolo's direction, while not as 
fervent as Molajoli's in the early Columbia set, is, 
none the less, a very sound job; and the performance 
gains by his allowing Puccini's fresh and youthful 
score to speak, as it were, for itself. 

This is the first operatic set issued by Cetra under 
the aegis of Capitol records. It is a very good 
beginning, and one is glad to note that the policy of 
supplying an excellent libretto along with notes and 
pictures has been retained. W. 

Songs of Duparc. Gerard Souzay (baritone) accom' 
panied by Jacqueline Bonneau (piano). 1 ' 1 2 " disc 
(*L'LL'813) $5.95. 

CONTENTS: Le Manoir de Rosemonde; La 
Vague et la Cloche; V Invitation au Voyage; Sere' 
nade Florentine; La Vie Anterieure; Chanson Triste; 
Testament; Lamento; Phidyle; Soupir; Extase; Elegie. 

Henri Duparc (1845T933), whose career was 
cut short at the age of thirty'seven by a nervous 
illness, left only fourteen songs, twelve of which are 
recorded here. Although he lived until 1933, the 
last forty'eight years of his life were nonproductive, 

being spent in the country as a semi'invalid. As the 
annotator of the jacket notes very aptly points out, 
. . few composers have achieved immortality with 
so slender an output." In addition to the fourteen 
songs, however, Duparc wrote an orchestral nocturne, 
a symphonic poem and a threepart motet, none of 
which, however, are very well known. Thus admirers 
of Duparc's art will welcome this recording that 
contains virtually his whole output. Of the two songs 
omitted, one is for female voice ( Au pays ou se fait 
la guerre ) and the other, Le Galop was supressed 
by Duparc and only published after his death. 

The earliest of the twelve recorded here are the 
famous Chanson Triste and Soupir; both date from 
1868. The last, in point of composition, is the equally 
well known La Vie Anterieure (1884). All Duparc's 
chansons are notable for their typical French lyricism 
and for the extreme criticism to which he subjected 
them. One is reminded of another French artist, 
Flaubert, who is said to have spent days polishing 
a sentence or phrase. Some of Duparc's music also 
bears the stamp of Franck's overweening musical 
personality in their elaboration for its own sake. 
". . . broken chords and tremulandos fill in spaces 
that had better been left empty . . . (and) the works 
take on a grandiose, quasi'orchestral air." 

Souzay, of course, sings the songs in a manner 
that calls for the highest praise. Both vocally and 
interpretively it would be difficult to conceive of 
better performances. Jacqueline Bonneau proves, as 
usual, a superb accompanist. Good recording, excel' 
lent notes are supplied but no texts, the latter a 
serious omission, particularly in this instance where 
the words are of the utmost importance. W. 

Jenkins: Seven Dreams. Bill Lee, supporting cast, 
the Ralph Brewster Singers and orchestra con' 
ducted by Gordon Jenkins. 1'12" disc (*D'DL' 
9011) $5.85. 

Decca says: "Here is a unique and startling 
achievement ... a complete seven'part show written 
and produced wholly for records ... it is enter' 
tainment of the highest Broadway calibre conceived 
especially for home enjoyment." 

Gordon Jenkins, whose "Manhattan Tower" was 
quite a sensation when it was released a few years 
ago, has conceived a much more ambitious produc' 
tion this time. "Seven Dreams," with dialogue, lyrics 
and music all by Mr. Jenkins, consists of seven 
varied fanciful episodes, some whimsical, some hu' 
morous, and one or two with a sentimental pull at 
the heartstrings. Quite an able cast of actors and 
vocalists, headed by Bill Lee as The Dreamer, bring 
each of these episodes to life. Despite the high ability 
of the cast, this could be a pretty dull affair if it 
were not for the wide variety of the sketches and 
the spontaneity of each of them. 

We don’t wish to infer that Mr. Jenkins has 
created a great dramatic or musical masterpiece, but 
he has produced a recording for home entertainment 

* indicates LP 8S1/S rpm. 
0 indicates 45 rpm. 


PAGE 12 


The Nw R ecords 1953 

that should have a wide appeal, especially among 
those who like original musical sketches and playlets 
on the radio and television. R. 

Jussi Bjoerling in Song. Jussi Bjoerling (tenor) 
accompanied by Frederick Schauwecker (piano). 
4'7" discs in box (0V'WDM'1771) $5.14. M2" 
disc (*V'LM'1771) $5.72. 

CONTENTS: Die Forelle, Op. 32; Die Allmacht, 
Op. 79, No. 2; Stdndchen (No. 4 of “Schwanen' 
gesang’’); Wanderers J^lachtlied No. II, Op. 96, 
No. 3; Die hose Farhe (No. 17 of “Die schone Mub 
lerin’’) (Schubert). Die M ainacht, Op. 43, No. 2 
(Brahms). Es muss ein W underhares sein (Liszt). 
Verborgenheit (Wolf). A Swan, Op. 25, No. 2; A 
Dream, Op. 48, No. 6 (Grieg). Stdndchen, Op. 17, 
No. 2; Morgen, Op. 27, No. 4 (R. Strauss). Svarta 
Rosor, Op. 36, No. 1 (Sibelius). Tonerna (Sjoe' 
berg). Lilacs, Op. 21, No. 5 (Rachmaninoff). Ideale 

A Song Recital. Kirsten Flagstad (soprano) accom' 
panied by Edwin McArthur (piano). 4'7" discs 
in box ( 0V'WDM' 1738) $5.14. M2" disc (*V' 
LMT728) $5.72. 

CONTENTS: Frauenliebe und Leben, Op. 42 
(Schumann). An die M usi\, Op. 88, No. 4; Gany' 
med (Schubert). Von ewiger Liebe, Op. 43, No. 1; 
O wusst' ich dock den Weg zuruc\, Op. 63, No. 8 
(Brahms). Ich liebe Dich, Op. 37, No. 1; Ruhe, 
meine Seele, Op. 27, No. 1 (R. Strauss). At Parting 
(Rogers). Morning (Speaks). We Have Turned 
Again Home (McArthur). When I Have Sung My 
Songs (Charles). 

Two of the better'known Scandanavian operatic 
artists undertake to issue lieder recitals this month, 
with mixed results. 

Jussi Bjoerling is very definitly out of his element. 
His recital begins with a positively grotesque per' 
formance of Schubert’s Die Forelle that is taken at 
top speed, the sooner to get it over with, presumably. 
Other Schubert songs, while they do not suffer the 
fate of the poor trout, are not well sung. The mag' 
nificent Die Allmacht is plainly monotonous on this 
record, which it is not when it is sung by an under' 
standing artist. Bjoerling’s weaknesses as an operatic 
tenor (i.e., a lack of color and an inability to convey 
expression vocally) are intensified on this disc. Curb 
ously, when he treats a song operatically, as he does 
Sibelius' Svarta Rosor the result is more exciting but 
it still is not good lieder singing. This is definitely 
a record for admirers of the Swedish tenor, not for 
devotees of the lied. 

Mme. Flagstad, on the other record, works her 
way through Schumann, Schubert, Brahms, Strauss 
and a group of Americans in a vocally impeccable 
fashion. Of her glorious voice it is unnecessary to 
speak; of her manner of singing lieder it need only 
be noted that she is able to divorce herself from 
the operatic manner, to the greater success of the 
songs. The Schumann cycle is beautifully sung and 

the two Schubert lieder are handled gracefully. 
Brahms and Strauss are temperamentally more suited 
to Mme. Flagstad and they are sung with warmth 
and understanding. As for the songs of Rogers, 
Speaks and company — well, they are always sung 
at recitals, and so they are included here. One wishes 
the space had been devoted to other material. 

Both discs are well recorded. The Flagstad disc has 
a jacket full of completely irrevelant notes about 
the artist, not a word about the music. Fie on 
RCA Victor for such lack of consideration for the 
purchaser — or maybe only Flagstad admirers are 
supposed to buy the record, in which case is one 
to assume the music is of no importance? W. 

Great Arias from Bach Cantatas (Pt. I). Hildegarde 
RosshMajdan (alto) with orchestra. One side, 
and Great Arias from Bach Cantatas (Pt. II). 
Hugues Cuenod (tenor) with orchestra. V 12" 
disc (*BG'BG'526) $5.95. 

CONTENTS: (Pt. I) Easter Oratorio — Saget, 
saget mir geschwinde; Cantata No. 63 — O sel’ger 
Tag!; Cantata No. 133 — Getrost es fasst ein heil’ger 
Leib; Cantata No. 161 — Der schluss ist schon 
gemacht . . . Komm, dii susse Todesstunde. (Pt. II) 
Cantata No. 21 — Wie hast du dich, mein Gott . . . 
Bache von gesalznen Zahren; Cantata No. 46 — So 
klage du, zerstorte Gottesstadt; Cantata No. 21 — 
Erfreue dich, Seele; Cantata No. 104 — Der hochste 
Hiiter . . . Verbirgt mein Hirte sich zu lange. 

The Bach Guild has selected a group of arias for 
both alto and tenor voices from its complete record' 
ings of these Bach cantatas and placed them on 
the present LP disc. In addition to Bach enthusiasts, 
this record should of particular interest to soloists 
who are studying these great works. 

Liszt: Hungarian Rhapsodies. Edith Farnadi (pia' 
no). 2' 12" discs in album (*WEST'WAL'213) 

Liszt: (8) Hungarian Rhapsodies (Vol. I). Edith 
Farnadi (piano). M2" disc (*WEST'WL'5230) 

CONTENTS: Hungarian Rhapsodies No. 1 hi E, 
No. 2 in C'sharp minor, No. 3 in B'flat, No. 4 in 
E'flat, No. 5 in E minor, No. 6 in D'flat, No. 7 in 
D minor, No. 8 in F'sharp minor (“Capriccio’’). 

Liszt: (7) Hungarian Rhapsodies (Vol. II). Edith 
Farnadi (piano). M2" disc (*WEST'WL'5231 ) 

CONTENTS: Hungarian Rhapsodies No. 9 in 
E'flat (“Carnival de Pesth’’), No. 10 in E (“Pre' 
ludio’’), No. 11 in A minor, No. 12 in C'sharp 
minor, No. 13 in A minor, No. 14 in F minor 
(“Mohac’s Field’), No. 15 (“Rakoczy March’’). 
Here we have the first fifteen of the famous Liszt 

PAGE 13 


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0 indicates 45 rpm. 


The Nm Records 


Hungarian Rhapsodies played with just the proper 
spirit by the Hungarian pianist, Edith Farnadi. It 
is true that Liszt wrote twenty of these engaging 
pieces but only the first fifteen, which were com' 
posed between 1851 and 1854, are included in most 
editions of the famous pianist’s works. The 16th 
through the 19th are of interest only to students of 
the composer’s style in his last years, and the 20th 
remains unpublished. If you are interested, but feel 
that fifteen would be too much of a good thing, these 
discs may be purchased separately as indicated above. 

Chopin: Waltzes (complete). Ania Dorfmann 
(piano). 4'7" discs in box (0V'WBC'1O5O) $2.98. 
M2" disc (*V'LBC'1050) $2.98. 

Chopin: (24) Preludes, Op. 28. Friedrich Gulda 
piano). M2" disc (*L'LL'755) $5.95. 

RCA Victor offers a fine bargain in its recording 
of the Chopin Waltzes by Ania Dorfmann under 
its modestly priced “Bluebird Classics’’ label. London 
offers American music lovers the opportunity of 
comparing the recording of the Chopin Preludes, Op. 
28 by the brilliant young pianist, Friedrich Gulda, 
with the many recorded versions now available by 
such big name artists as Arrau, Brailowsky, Novaes, 
and Rubinstein. 

Chausson: Poeme, Op. 25. Three sides, and Conus: 
Concerto in E minor. Jascha Heifetz (violin) with 
the RCA Victor Orchestra conducted by Izler 
Solomon. 3'7" discs in box (0V'WDM'7O17) 
$3.99. MO" disc (*V'LM'7017) $4.67. 

Chausson: Poeme, Op. 25. One side, and Ravel: 
Tzigane. Christian Ferras (violin) with l’Orchestre 
National de Belgique conducted by Georges Se' 
bastian. And Honegger: Sonata for Violin Solo. 
Christian Ferras (violin). LI 2" disc (*L'LL'762) 

There are numerous LP recordings of Chausson’s 
famous Poeme, Op. 25 and certainly Heifetz’s version 
rates with the best. Of particular interest to us 
was the splendid recording of the seldom heard 
Conus Concerto which occupies the reverse side of 
the Heifetz disc . . . Jules Edwardovich Conus 
(usually spelled Konius) was the least famous of 
three brothers (Gregory, Jules and Lev) who were 
quite important in the musical life of Russia during 
the last quarter of the 19th century and the first 
quarter of the present century. Jules was a successful 
violin virtuoso and wrote much music of merit for 
his instrument. By far the most important work is 
the present concerto, which seemingly appealed to 
Mr. Heifetz, because he has given several per' 
formances of it and has chosen to record it. It will 
doubtless be entirely new to most Americans. We 
found it quite delightful and do not hesitate to 
recommend it to those music lovers who are inter' 

ested in adding to their libraries recordings of un' 
usual and worthwhile items. 


This I Believe. The Personal Philosophies of 10 

Living Americans and 10 Immortals, with com' 

mentary by Edward R. Murrow. 2' 12" discs in 

folder (*C'SL'192) $11.90. 

CONTENTS: The voices of Bernard Baruch, 
Helen Hayes, Ralph Bunche, Charles H. Percy, 
Mrs. Marty Mann, Eleanor Roosevelt, Louis B. 
Seltzer, Helen Keller, Will Durant and Carl Sand' 
burg. The philosophies of the following (with por' 
traying actor’s name in parentheses) : Socrates (Barry 
Jones), Abraham Lincoln (Raymond Massey), Flor' 
ence Nightingale (Katharine Cornell), Confucius 
(Hu Shih), Franklin D. Roosevelt (Franklin D. 
Roosevelt, Jr.), Queen Victoria (Helen Hayes), Ben' 
jamin Franklin (Jose Ferrer), Will Rogers (Will 
Rogers, Jr.), Marie Curie (Eve Curie), Gandhi (S. 

Lack of space precludes complete discussion of 
this pair of LP discs, a job we would love to do. 
Edward R. Murrow has demonstrated, here, why 
he has rightfully gained fame for bringing to us the 
unusual — the unexpected — and doing it in a way 
which will capture the attention of all who hear 
or see him. 

Mr. Murrow, with the able assistance of editors 
Raymond Gram Swing and Ward Wheelock, has 
captured for us exemplary bits of the philosophies 
of ten living Americans and ten “immortals.’’ All 
of the imortals are welhknown (even though their 
philosophies may not be); and most of the living 
Americans are, too. One might not know, however, 
that Charles H. Percy was elected president of Bell 
and Howell Co. at the age of 33, and in 1949 was 
voted one of the ten outstanding young men in the 
country by the Junior Chamber of Commerce; or 
that Mrs. Marty Mann, once an alcoholic herself, 
helped found the National Committee on Alcoholism 
and was the first woman member of Alcoholics, 
Anonymous. Louis B. Seltzer is the editor of the 
Cleveland Press (ScrippS'Howard) and in 1951 he 
received the award of the National Conference of 
Christians and Jews for his 30 years spent in promot' 
ing better relations among all races and religions. 

The title of this set derives from the name of Mr. 
Murrow’s radio program, This I Believe, now broad' 
cast 2400 times a week and heard by 39 million 
people the world over; the program brings persons 
from every walk of life to the microphone to tell, 
in less than 600 words, their personal philosophies 
of life — the beliefs on which they lean to see them 
through crises or those that teach them how to con' 
duct themselves when they are triumphant. Follow' 
ing the success of the radio show, in 1952 Mr. 
Murrow selected 100 scripts from the program and 

* indicates LP 331/8 rpm. 
0 indioetaa 45 rpm. 


PAGE 14 

DECEMBER T he NtfZP RflPftfr 1953 

put them in a book, also entitled This I Believe 
(Simon & Schuster, New York); it became a best 
seller (non-fiction) second only to the Bible. 

More than the printed page, the voice of the 
philosopher transmits that certain something to his 
words which instills confidence in the hearer; and 
because of this, we have nothing but praise for these 
records. They are thought-provoking; one need not 
agree with the beliefs expressed to derive benefit 
from them. This is one of the very few non- 
dramatic recordings which one would like to play 
over and over again. J. 

Shakespeare: Romeo and Juliet (complete). The 
Old Vic Company. 3-12" discs in album (*V-LM- 
6110) $17.16. 


We must, however, warn those who are not 
familiar with Murder in the Cathedral and know 
Mr. Eliot only through his recent most successful 
play The Coc\tail Party, that they are very different; 
and because you were thrilled with the latter is 
no indication that you would be at all interested in 
the former. Murder in the Cathedral is a purely 
religious play and was designed to be given in the 
chancel of a church; in fact it has been given in 
various churches both here and in England. 

In view of the fact there is practically no action 
in Murder in the Cathedral it is an ideal play to 
present on records. Little is lost in not seeing the 
characters; Eliot’s inspired text needs no costumes, 
scenery or lighting effects; it is well able to stand 
alone if it is well read as it is by the fine cast that 
has made the present recorded version. R. 






Friar Laurence 




..John Warner 
. . . .Alan Badel 
. . . . Peter Finch 
.William Squire 
Laurence Payne 
. . Lewis Casson 
. .Newton Blick 
. . Claire Bloom 
. .Athene Seyler 

Fast upon the heels of the fine recording of Mac* 
beth by the Old Vic Company (*V-LM-6010) comes 
this splendid reading of Romeo and Juliet. Certainly 
young students of Shakespeare today have a great 
advantage. In our student days the printed page was 
cold and colorless; our professor had to use all of 
his ingenuity to arouse our interest. Today things 
are different; such recordings as those by the Old 
Vic Company bring these masterpieces to life. The 
characters spring from the text and become real 
living persons, and the great joy of it all is that 
we may command them to perform whenever we are 
in the mood to hear them. 

Eliot: Murder in the Cathedral. Old Vic Company. 
2-12" discs (*ANG-3 5043/4) $9.90. 2-12" discs 
in deluxe factory-sealed album (*ANG-3505B) 

T. S. Eliot’s first complete play Murder in the 
Cathedral was commissioned to open the festival 
in Canterbury Cathedral in 1935. Since that time 
it has had many productions; one of the most famous 
was Robert Helpmann’s production by the Old Vic 
Company with Robert Donat in the role of Arch- 
bishop Thomas Becket. It is this superb version that 
has been recorded and is now being made available 
in this country under the Angel label. 

Ever since Robert Speaight made a recording 
of the Sermon on Christmas Morning from this play, 
shortly after its first production, there has been an 
insistent demand for a complete recording. We are 
happy to say that the present recorded version is a 
thoroughly adequate one and should meet the pent-up 
demand most satisfactorily. 


Organ Music by Modern Composers. Richard Ell- 
sasser, playing the organ of the John Hays Ham- 
mond, Jr., Museum, Gloucester (Mass.). 1-12" 
disc (*MGM-E-3064) $4.85. 

CONTENTS: En Bateau (Bartok); Prelude and 
Fugue on a Theme by Vittoria (Britten); Proces' 
sional (Cowell); Episode (Copland); Sonata ?s [o. 2 
(Hindemith); Le Banquet celeste (Messiaen); Pas- 
torale (Milhaud); Pastorale on a Christmas Plain' 
song (Thomson); Chorale 'Prelude on the Welsh 
Hymn “ Hyfridol ” (Vaughan Williams). 

The catalog of organ music is being rapidly en- 
larged through the efforts of MGM, and they are 
presenting music previously unrecorded. Most of 
the organ works which Ellsasser records are the type 
heard on recital programs today. The disc at hand, 
one of a projected series, contains several works 
frequently programmed by the leading organists. 
All in all this a very worthy collection. The Hinde- 
mith Sonata is getting to be rather popular with 
organists, although audiences are not yet placing it 
on their hit list. It is a well-written piece of music, 
but you have to be a musician to derive much 
pleasure from it. Britten’s work and Cowell’s Pro- 
cessional complete one side of the disc. The second 
side we found much more interesting. Bartok’s En 
Bateau is a humorous work depicting the seasickness 
he suffered on an ocean voyage. Copland’s Episode 
and Milhaud’s Pastorale, as well as Virgil Thomson's 
Pastorale are from the H. W. Gray Contemporary 
Organ Series, and they are fine short works of real 
substance. Milhaud’s piece preserves the identity of 
the composer — it is in his style just as his orchestral 
works are all stamped with his hallmark. 

Olivier Messiaen’s Le Banquet celeste is a favorite 
work with organists who pTay this modern master’s 
music. Messiaen is one of the most individual of 
modern French composers, who has written mostly 
for organ, although his V Ascension has been re- 




* indicates LP 331/S rpm. 
0 indicates 45 rpm. 


The N ew Records 


corded by Stokowski, and is a fine orchestral work. 
Messiaen is a mystic, and his music usually bears 
titles from the liturgy of the Roman Catholic 
Church or from the writings of the saints. The title 
of the work recorded here refers to * the celestial 
banquet of the Holy Communion." Ellsasser’s per- 
formances are all laudable, and MGM has captured 
the range of this great organ with exceptional fidelity. 
A disc to be recommended to all organ enthusiasts. 



Christmas Carols. Deutschmeister Band conducted 
by Julius Herrmann. 1-12" disc (*WEST-WL- 
5300) $5.95. 

CONTENTS: God Rest Ye, Merry Gentlemen; 
Har\! The Herald Angels Sing; Good Christian Men 
Rejoice; It Came upon a Midnight Clear; Good King 
W enceslas; O Come, All Ye Faithful; From O’er the 
Hills of Far Judea; The First Noel; Joy to the World; 
Away in a Manger; We Three Kings of Orient Are; 
O Little Town of Bethlehem ; O T annenbaum; Silent 
Night, Holy Night; Wassail, Wassail; Dec\ the 

Here are sixteen Christmas carols, most of them 
thrice familiar, done in a lugubrious manner by the 
Deutschmeister Band, by now firmly ensconced in 
the roster of Westminster’s artists. Personally, we 
prefer our carols sung; however, we hasten to state 
that if you think you might like to hear some played 
by a large brass band, Mr. Herrmann and his men 
should please you, for their artistry is impeccable 
and their taste above reproach. 


Barab: A Child’s Garden of Verses. Russell Oberlin 
(counter-tenor) with instrumental accompaniment 
directed by Seymour Barab. 1-10" disc (*ESO- 
ESJ-5) $4. 

An Elizabethan Songbag for Young People. Pro 

Musica Antiqua directed by Noah Greenberg. 
1-10" disc (*ESO-ESJ-6) $4. 

Here are two lovely records for children of 
superior intelligence. The first contains Stevenson’s 
charming little poems set to music by Seymour Barab 
and pleasingly sung by Russell Oberlin with piano 
accompaniments and other accompaniments consist- 
ing of the piano plus various woodwinds. The second 
record contains some fifteen rounds and madrigals 
from the period of Elizabeth I sung by a mixed sex- 
tette unaccompanied. These vocal selections are in- 
terspersed with short pieces played on virginals and 


The World's Encyclopaedia of Recorded 
Music. By Francis F. Clough and G. J. 
Cuming. 890 pp. Sidgwick and Jackson, 
Ltd. (London). Price $17.50. 

The N[ew Catalogue of Historical Records , 
1898' 1908/09. Compiled by Robert Bauer. 
494 pp. Published in England. For sale in 
U. S. A. by H. Royer Smith Co. (Phila- 
delphia). Price $7.25. 

The Gramophone Shop Encyclopedia of Re' 
corded Music (Third Edition) . Robert H. 
Reid, Supervising Editor, 639 pp. Crown 
Publishers (New York). Price $2.95. 

The Victor Boo\ of Operas. Revised and edited 
by Louis Biancolli and Robert Bagar. 
xxiv+596 pp. Illustrated. Simon and 
Schuster (New York). Price $5. 

Victor Boo\ of Concertos. By Abraham Veinus. 
xxv + 450 pp. Simon and Schuster (New 
York). Price $3.95. 

Collectors' Guide to American Recordings , 
1895-1925. By Julian Morton Moses. 
Foreword by Giuseppe De Luca. 200 pp. 
Published by the author. Price $3.75. 

I Hear You Calling Me. By Lily McCormack. 
201 pp. Illustrated. The Bruce Publishing 
Co. (Milwaukee). Price $3.75. 

Records: 1950 Edition. By David Hall, ix + 
524 + xx pps. Alfred A. Knopf (New 
York). Price $6. 

NOTE: All the above books have been reviewed 
in previous issues of The New Records. If your local 
dealer does not stock them, orders addressed to H. 
Royer Smith Co., Philadelphia 7, Pa., will be 
promptly filled. The prices quoted include postage 
to any point within U.S.A. 

The first letters in the record number indicate the manufacturer: AL— Allegro. ANG — Angel, BG — Bach Guild. C — Columbia, CE — Cetra, 
CH — Concert Hall Society, CL — Capitol, CSM — Colosseum, CRS — Collector’s Record Shop, D — Decca, DL — Dial, ESO — Esoteric, FEST — 
Festival, FOLK — Ethnic Folkways Library, GIOA — Gregorian Institute of America, HS — Haydn Society, L — London Gramophone, LYR — 
Lyrichord, ME — Mercury, OC — Oceanic. OL — L’Olseau Lyre, PE — Period, PH M — Philharmonia, PLM — Polymusic, REN — Renaissance, 
SOT— Sounds of Our Times, ST R— Stradivari, UR— Urania, V— Victor, VAN— Vanguard, VX— Vox, and WEST— Westminster. 

* indicates LP 83 1 /3 rpm. 
0 indicates 45 rpm. 


PAGE 16 

The Nm R ecords 


Issued Monthly by 


“The World’s Record Shop ” 


VOL 21, NO. 1 1 

JANUARY, 1954 

By mail to any address 
$1 per year 

A LTHOUGH it is limited, there is a lively 
• demand for recordings of bird songs. 
A new LP disc entitled ‘'Bird Songs of Door- 
yard, Field and Forest” has recently come to 
our attention. It contains 135 distinctive songs 
and calls of 49 different species. The price is 

These recordings were made by Jerry and 
Norma Stillwell, a couple who have been inter- 
ested in birds since early childhood. In 1948 
Mr. Stillwell retired as Chief Technical Editor 
for the American Petroleum Institute and the 
Stillwells sold their home and car, bought a 
truck, house trailer and the best of sound re- 
cording equipment; and since that time, travel- 
ing from state to state, they have built up one 
of the finest and largest collections of bird song 
recordings available anywhere. The present 
12-inch LP disc contains a choice selection of 
these. A running commentary, we presume by 
Mrs. Stillwell, adds greatly to the interest of 
this highly illuminating record in the realm of 
nature study. 

Several years ago the Laboratory of Orni- 
thology, Cornell University, issued an album 
of 78 rpm records entitled “Voices of the 
Night.” It contained calls and songs of a great 
variety of frogs, toads and tree frogs. As the 
recordings were most successfully accomplished, 
this album has been in great demand among 
those interested in this phase of nature study. 
Now a revised version of this album, contain- 
ing additional material, is now available on a 
12-inch LP disc. It is called “Voices of the 
Night” ( 33 J /3 rpm). The price is $6.75. 

If these records are not available from your 
local dealer, orders sent to the publishers of this 
bulletin will be promptly filled. 


We are continually receiving requests for 
back copies of The New Records. Most of 

the issues published during the last twenty 
years are available. The price is 10c each. A 
file of all of the available issues (at least 150 
copies) is $5. These prices are postpaid within 

NOTE: Those persons interested in recent 
recordings only may secure all of the issues of 
the last three years beginning January 1951 
(36 copies) at the special price of $2 (postpaid 
within U. S. A.). 


Italian Classical Symphonists. Italian Chamber Or- 
chestra conducted by Newell Jenkins. 6-12" discs 
in box (*HS-HSL-C) $36.35. 


Albinoni: Concerto for Orchestra in D minor, Op. 5, 
No. 7; Corelli: Concerto Grosso No. 2; Sammar- 
tini: Violin Concerto No. 2 in C; Sammartini: 
Symphony in G. (*HS-HSL-74) $5.95. 

Sammartini: Cantata No. 5 for Fridays in Lent 
(with soprano, contralto, tenor). (*HS-HSL-75) 

Pergolesi: Orfeo (with tenor); Cambini: A ndro' 
maque (with soprano); Galuppi: Overture No. 2. 
(*HS-HSL-76) $5.95. 

Giordani: Piano Concerto; Valentini: Oboe Con' 
certo; Brunetti: Symphony in C. (*HS-HSL-77) 

Viotti: Concerto for Piano and Violin in E'flat; 
Brunetti: Symphony in G minor. (*HS-HSL-78) 

Rosetti: Horn Concerto in E'flat; Boccherini: Sym- 
phony in F, Op. 35, No. 4. (*HS-HSL-79) $5.95. 
This set of six discs, devoted to the music of the 
Italian Classical Symphonists, is one of the greatest 
achievements of the phonograph to date. These rec- 
ords not only fill one of the biggest lacunae in the 
recorded repertoire, but they are so logically arranged 
and so expertly chosen that one is taken, as it were, 
on a personally conducted tour of eighteenth century 
musical Italy and introduced to each composer. To 
be sure, some other works by a few of the composers 


T he N^ze; Records 


represented have been recorded elsewhere; but it 
never has been possible to get the perspective that 
is available here. 

It is manifestly impossible, unfortunately, in the 
limited space at one’s disposal, to enter into any 
detailed discussion. Certain items are of paramount 
interest, however, such as the Sammartini Cantata, 
which is not available in any printed edition what' 
soever. Sammartini was also one of the young 
Mozart’s teachers and even proud Leopold spoke of 
the honor of having him as a friend. This great 
man’s music is an ever constant source of delight, 
revealing new beauties on each playing. The same 
characteristics are evident to a greater or lesser de* 
gree in all the other music in the collection; and 
special mention must be made of the two Brunetti 
symphonies and the superb double concerto of Viotti. 

As an example of the care exercised in preparing 
the set, the Giordani Concerto is a case in point. 
The piece was first played on a harpsichord, then 
on a piano; it was decided that its musical values 
were better suited to the latter instrument, and it 
was so recorded. Such care and honesty on the part 
of a recording company is virtually unprecedented. 
The concerto, by the way, is flawlessly played by 
Carlo Bussotti. 

The various soloists, both vocal and instrumental, 
are all technically competent and artistically sincere 
— an extremely happy circumstance which demon' 
strates that when proper care is exercised, a group 
of musicians can still be found who will take pride 
in their work. As for Newell Jenkins, the artistic 
and musical director of the enterprise, one can only 
offer up hallelujahs for him — he has done an inesti' 
mable service for music lovers, whether they be 
scholars or the common garden variety. His com' 
mentaries on the jackets are models of their kind; 
informative, concise and honest. 

Haydn Society’s engineers have come up with a 
virtually flawless recording job — crystal clear and 
exquisitely proportioned sound. It might also be 
noted that the discs are available individually, but 
it is a safe bet that once a single record is purchased 
the buyer will not rest until he has the complete set. 
Haydn Society, with the release of this set and its 
two counterparts, the Bach Clavierubung and Master' 
pieces of Music before 17 SO, has established itself 
as the most intelligent and really musical producer 
of records the industry has ever seen. One sincerely 
hopes they will receive the support they deserve so 
they may continue to demonstrate their unique taste 
and artistic conscience. W. 

Sibelius: (4) Legends for Orchestra, Op. 22. 

Danish State Radio Symphony Orchestra con' 

ducted by Thomas Jensen. LI 2" disc (*L'LL' 
843) $5.95. 

Less than a year ago Columbia issued the first 
recording of the complete Lemmin\dinen Suite, 
which comprises the Four Legends, Op. 22 contain' 

ing the well known Swan of Tuonela. The Columbia 
disc (*C'ML'4672) was played by The Philadelphia 
Orchestra under Ormandy and, as you can easily 
imagine, that is a tough one to beat in music such 
as this. Jensen and the Danish orchestra do not beat 
them, although the Danes’ effort is a valiant one. 
The Danish State Radio Orchestra is a fine group, 
but the polish and unique tone of the Philadelphians 
lends an atmosphere to this music which makes this 
situation one of the nicer things about LP duplica' 
tions — you can choose the better of two fine record' 
ings. The reproduction is about even between the 
two discs, so their is no marked preference on that 
score. Interpretively, Ormandy can hold his own 
with Jensen, or anyone else, in this music. We 
preferred Ormandy’s thrilling account of No. 4 
Lemmin\dinen’s Return. 

This suite is in four sections, played in this order: 
Lemmin\ainen and the Virgins from Saari (No. 1), 
The Swan of Tuonela (No. 3), Lemmin\ainen in 
Tuonela (No. 2), and Lemmin\dinens Return (No. 
4). In order of composition, “Swan” came first; it 
was written in 1893 as the prelude to an opera 
“The Building of the Boat” based on a passage from 
the Kalevala. The opera remained unfinished, but 
the prelude was revised in 1896 and again in 1900. 
The other Legends were composed in 1895 and 
revised in 1896, while No. 4 was again revised in 
1900. The first and second items remained in manu' 
script, and were discovered a few years ago among 
the effects of the famous Finnish conductor, Robert 
Kajanus; but long before that time the third and 
fourth had established a firm place in the concert 
repertoire. It is interesting to note that the order 
in which these are played has been suggested by 
Sibelius as the best, although it differs from the 
order shown by opus number, which we included 
in parentheses above. S. 

Liszt: A Symphony to Dante’s "Divine Comedy” 
(1856). L’Orchestre de l’Association des Concerts 
Colonne conducted by George Sebastian. LI 2" 
disc (*UR'URLP'7103) $5.95. 

Liszt: A Symphony to Dante’s "Divine Comedy” 
(1856). Vienna Philharmonia Orchestra and 
Vienna State Opera Chorus conducted by F. 
Charles Adler. LI 2" disc (*SPA'44) $5.95. 

The LP horn of plenty must necessarily result in 
many duplications, and so it is hardly strange that 
the long neglected Dante Symphony of Liszt now 
appears in its second and third recordings just two 
months after Decca released the initial recording by 
Alfred Wallenstein and the Los Angeles Philhar' 
monic (*D'DL'9670). We had high praise for Wah 
lenstein’s performance in the November 1953 issue 
of TNR, at which time we also gave some informa' 
tion on the work. Those who acquired the Decca 
disc need not feel sorry for their choice. Those who 
are yet to acquire it will do well to compare the 
Urania and the Decca discs, particularly as to which 

* Indicates LP S3 1/S nan. 
0 indicates 45 nan. 




The New R ecords 


reproduction sounds best on their phonographs. The 
SPA disc can be quickly forgotten, as it is a plodding 
performance, seemingly lacking in drive and inspira- 
tion, played with rough edges, and generally giving 
the impression of falling apart at the seams. It is 
outclassed in every way by either of the others. 

Urania’s reproduction is a brilliant piece of engi- 
neering, and we mean that literally, for it has a 
razor-edged definition and a stentorian dynamic 
range. Their fortissimo effects are gigantic, yet sur- 
prisingly clear and transparent. This includes the 
recording of the Magnificat at the conclusion of the 
work, sung by the women’s choir, which shows a fine 
balance with the orchestra as well as a good quality 
of tone. 

Liszt wrote two endings to the symphony, one 
soft and ethereal, the other brilliant and triumphant. 
It is interesting to note that Sebastian, who gives so 
much more vital and dramatic a reading than Adler, 
uses the soft ending. In its way it is really more 
dramatic than the walloping orchestral passages and 
final Hallelujahs (sung by the chorus) which Adler 
uses, even though he handles this part better than 
anything else in his performance. Nevertheless, 
Sebastian is a great conductor, whose records have 
all maintained a good general level of excellence, 
and we recommend his recording. Wallenstein’s per- 
formance is worth comparing if you are really inter- 
ested in this work. S. 

Tchaikovsky — arr. Diaghileff: Aurora’s Wedding 
(Ballet Suite) (complete). One and one-half sides, 
and Tchaikovsky — trans. Stokowski: Humoresque, 
Op. 10, No. 2. And Tchaikovsky — trans. Sto- 
kowski: Solitude, Op. 73, No. 6. Leopold Sto- 
kowski and his Symphony Orchestra. 1-12" disc 
(*V-LM-1774) $5.72. 

Tchaikovsky: Swan Lake Ballet Suite, Op. 20. 
One side, and Tchaikovsky: Sleeping Beauty 
Ballet Suite, Op. 60. Philharmonia Orchestra 
conducted by Herbert von Karajan. 1-12" disc 
( *ANG-3 5006TP) $4.95. 1-12" factory-sealed 

disc (*ANG-35006) $5.95. 

Tchaikovsky: Aurora’s Wedding (Act III of “The 
Sleeping Beauty’’) (complete). One side, and 
Gounod: Faust — Ballet Music. Royal Opera House 
Orchestra, Covent Garden, conducted by War- 
wick Braith waite. 1-12" disc (*MGM-E-3052) 

Tchaikovsky: Francesca da Rimini, Op. 32. Sym- 
phony Orchestra of Radio Leipzig conducted by 
Ernest Borsamsky. One side, and Tchaikovsky: 
Romeo and Juliet (Ouverture-Fantasia). Sym- 
phony Orchestra of Radio Leipzig conducted by 
Jose Eibenschutz. 1-12" disc (*UR -URRS-7-22) 

About the three ballet recordings in this group, 
one thing, at least, is clear: for most folks the Angel 
record is the best buy because of the couplings. It is 

the only LP that offers the popular suites from the 
two most popular ballets by Tchaikowsky (excepting 
Nutcracker), Sleeping Beauty and Swan La\e, with 
all their beguiling charm and melodic beauty. Von 
Karajan and the fine Philharmonia Orchestra extract 
all the loveliness from these scores in superbly 
phrased and gently relaxed performances which are 
captured in full, rich fidelity. This is a disc to be 
highly recommended to those who do not wish the 
complete versions of these works (each occupies two 
LP discs in the complete version). 

Aurora s Wedding is described differently by every 
annotator, and we are not quite sure, at this point, 
just what it is; but it is something like this: the third 
act of The Sleeping Beauty. It seems that the com- 
plete Sleeping Beauty takes about three hours to 
perform, and in its early days was not financially 
feasible, so Diaghileff salvaged some of the numbers, 
mostly from the final act, and welded them into a 
one-act fantasy called Aurora's Wedding. As the 
Sadler’s Wells now presents it, it is the full-length 
version of the third act of Sleeping Beauty. Both 
of these recordings contain the same music (each is 
labelled “complete”), although the labelling of the 
RCA Victor disc is more inclusive. The one by 
Sadler’s Wells’ own orchestra, Covent Garden, is 
a splendid performance, and is coupled with an 
idiomatic performance of the Faust Ballet Music. 
Stokowski offers more of a concert performance, 
which is to say a less measured reading, freer and 
with more interpretive liberties, and Stokey indulges 
himself with many striking effects. The reproduction 
is of RCA’s best “New Orthophonic” variety, more 
revealing than the MGM, which is good, if not quite 
as wide range as RCA. 

The Urania disc presents a pair of uninspired 
performances of which the catalogs list much more 
interesting LP’s of each of these works. S. 

Beethoven: Symphony No. 3 in E-flat, Op. 55 

(“Eroica”). Philharmonia Orchestra conducted by 
Herbert von Karajan. 1-12" disc (*ANG-35000 
TP) $4.95. 1-12" factory-sealed disc (*ANG- 
35000) $5.95. 

Beethoven: Symphony No. 3 in E-flat, Op. 55 

(“Eroica”). Vienna Philharmonic Orchestra con- 
ducted by Wilhelm Furtwangler. 1-12" disc 
(*V-LHMV-1044) $5.95. 

The day this review was written, an article ap- 
peared in The Billboard telling of a civil court ruling 
in Paris which ordered Urania to remove the name 
of Furtwangler from a recording of the Eroica, sup- 
posedly made by Furtwangler in a German studio in 
1944. Furtwangler brought the suit because he 
claimed he could not recognize the performance as 
his own. We mention this,- because it presumably 
deals with the disc which was one of five Eroica 
recordings which we reviewed in the October 1953 
TNR. There can be no doubt that the present disc 
is conducted by Furtwangler, and there is little doubt 

• indisatsa UP Ml/S rM. 

0 Indicates 45 rpm. 





The New Records 

that it is a better example of the conductor's art 
than the Urania disc (which did not find favor in 
these columns). One noticeable difference is the 
tempo of the third movement which (as reported in 
October) Furtwangler took at 116; the present disc 
shows a more typical Furtwangler tempo of 108. 

With twenty Eroicas now listed in the LP cata* 
logs, these two new ones are indeed difficult to 
evaluate by comparison. Of those conductors who 
take the tempi on the brisk side, von Karajan is in 
their camp; while Furtwangler belongs to the group 
who favor slower tempi and more individual shaping 
of the phrases, resulting in more dramatic readings. 
Von Karajan's reading is of the Leinsdorf and 
Toscanini order, and he enjoys by far the best 
reproduction of these three — better than most of the 
rest of the recordings available. The reproduction 
of the Furtwangler disc is splendid, a little smoother 
than the Horenstein recording, which we admired 
so much before. We still think Horenstein is the 
most deeply felt and dramatic reading, the best 
listening experience of the whole lot. Those who 
take exception to this opinion (and there is a re' 
spectable number who do), will do well to invest i' 
gate the von Karajan disc, for it is beauty of its 
kind, and one which we heartily respect if not 
prefer. Admirers of Furtwangler will find his disc 
one of his great recordings, and a masterly effort in 
its own right. And now your harried reviewer begins 
the new year with a fervent prayer for no more 
Eroica recordings. S. 

Wagner: Tristan und Isolde (excerpts). One side, 
and Wagner: Die Gotterdammerung — Siegfried's 
Funeral Music. Philadelphia Orchestra conducted 
by Eugene Ormandy. And Wagner: Die Gotter- 
dammerung — Immolation Scene. Margaret Har' 
shaw (soprano) with the Philadelphia Orchestra 
conducted by Eugene Ormandy. 1'12" disc (*C' 
ML'4742) $5.95. 

Wagner: Tannhauser — Overture fe? Venusberg 
Music. One side, and Wagner: Der fliegende 
Hollander — Overture. And Wagner: Die Wal- 
kiire — The Ride of the Valkyries. Vienna Phil' 
harmonic Orchestra conducted by Hans KnappertS' 
busch. M2" disc (*L'LL'800) $5.95. 

Wagner: Lohengrin — Preludes to Acts I & III. 
And Wagner: Die Meistersinger — Prelude. One 
side, and Wagner: Tannhauser — Overture. And 
Wagner: Die Walkikre — Ride of the Valkyries. 
Detroit Symphony Orchestra conducted by Paul 
Paray. M2" disc (*ME'MG'50021 ) $5.95. 

With these three excellent LP discs, Wagnerian 
music lovers have a rare feast in store for them. Of 
especial interest is the Philadelphia Orchestra disc 
which contains most of the music from a recent 
Wagnerian program that packed the Academy of 
Music in Philadelphia for three concerts. Margaret 
Harshaw's Immolation Scene is superb and will 
take its deserved place with outstanding recordings 

of this year. ... We were also well impressed 
with the Vienna Philharmonic and the Detroit 
Symphony recordings under Knappertsbusch and 
Paray and do not hesitate to state that they are 
well worth investigation. 

Rimsky-Korsakov: Capriccio espagnol, Op. 34. 

Symphony Orchestra of Radio Leipzig conducted 
by Rolf Kleinert. One side, and Lalo: Symphonie 
espagnole, Op. 21. Ferdinand Meisel (violin) 
with the Symphony Orchestra of Radio Berlin 
conducted by Walter Schartner. 1-12" disc (*UR' 
URRS'7'13) $3.50. 

Rimsky-Korsakov: Le Coq d’Or — Suite. One and 
one'half sides, and Rimsky-Korsakov: Capriccio 
espagnol, Op. 34. L'Orchestre de la Suisse Ro' 
mande conducted by Ernest Ansermet. M 2" disc 
(*L'LL'694) $5.95. 

Rimsky-Korsakov: The Tale of the Czar Sultan 
Suite, Op. 57. One side, and Rimsky-Korsakov: 
Le Coq d’Or — Suite. Philharmonia Orchestra 
conducted by Issay Dobrowen. M 2" disc (*ANG' 
3 5010TP) $4.95. M 2" factory'sealed disc 

(*ANG'35010) $5.95. 

The Urania Request Series record listed above is, 
at the $3.50 price, a good buy. It costs about 70% 
more to get Campoli, Heifetz, or Menuhin doing the 
Lalo violin work. The cost is also more to get Ansei' 
met, Paray, or their calibre doing this Capriccio 
espagnol. Therefore, it is up to the one doing the 
buying to decide whether it is worth it or not; and 
to consider also the couplings involved and the 
quality of reproduction. Urania's reproduction in 
both these works is exceptionally brilliant, to the 
point where we thought it strident. The perform' 
ances are good, if not outstanding, and at the price 
it is a worthwhile addition to the catalogs. 

The Ansermet disc has a more beautifully deline' 
ated reading of the Capriccio espagnol than the 
Urania. Ansermet, in both the works on this disc, 
gives one of his typical performances, excelling in 
very carefully adjusted dynamics. There is a clarity 
and logic, combined with a subtleness and musicianly 
approach, that distinguish his music making among 
the best conductors of our day. Whether or not his 
finesse results in the best performance of music as 
flambuoyant as Rimsky'Korsakov’s is a question 
posed as soon as one hears a disc such as Dobrowen's. 
Dobrowen is not the finegrained artist that Anser' 
met is, but Dobrowen's account of the Coq d'Or 
Suite is a stunning job. We did not mean to infer 
above that Dobrowen indulges in coarse or rough' 
hewn playing; quite the contrary, his orchestra is 
magnificent and the solo work throughout is superb. 
But Dobrowen paints the Coq d'Or picture with 
bolder and firmer strokes, and the results are some' 
thing for the ear to enjoy. We must also admit that 
the reproduction accorded this music by Angel is a 
fuller and richer tapestry than London has achieved. 
Dobrowen continues the good work with a broadly 

* indicates LP S3 1/8 rpm. 
0 indicates 45 rpm. 




T he Ntfzo R ecords 


paced reading of the Czar Sultan Suite, with the 
same fine reproduction. We are impressed by this 
record, and name it the best of the three under con' 
sideration, even though we acknowledge the admir' 
able artistry of Ansermet. S. 

Brahms: Symphony No. 3 in F, Op. 90. Vienna 
Philharmonic Orchestra conducted by Karl Bohm. 
M2" disc (*L'LL'857) $5.95. 

Of the dozen LP recordings now in the catalog 
of the Brahms Third, we can say without exception, 
reservation, or other pussyfooting around that this 
is by all odds the best. We doubt that anyone would 
deny that it is the best sounding one from the stand' 
point of reproduction. It is a top'notch London 
recording, which makes it mighty good by today's 
best standards. There is a richness and bloom to the 
full orchestral sound which is not only beautiful, but 
becoming to the nature of the music; the string tone 
is notably fine too. And we would also doubt that 
anyone could overlook the superlative orchestral 
playing by the Vienna Philharmonic. Lately we have 
felt that some of the records by this distinguished 
orchestra were just not quite up to their usual high 
level, but in this recording they are as glorious as 
ever. There is a magnificent precision and discipline 
combined with a roundness and almost relaxed play' 
ing that is usually referred to as “in the Viennese 
tradition" because no one can quite describe in 
words this wonderful style of playing. It is here in 
full measure, and it is a pleasure to hear through 
every minute of the record. 

As for Bohm’s interpretation, we think it is one 
of the best things he has done. The first and last 
movements are not the easiest things to make hang 
together; Bohm has complete success with them and 
that goes a long way toward making this such a 
great performance. His tempo in the third move' 
ment is on the slow side, but it reveals much lovely 
orchestral playing and most persons will not feel 
that it is unduly slow. His command of the orches' 
tra, without making the result brittle, is probably 
his greatest achievement, and the final result is com' 
pletely satisfying; in fact, it is thrilling. S. 

Bartok: Concerto for Orchestra. Philharmonia Or' 
chestra conducted by Herbert von Karajan. M2" 
disc (*ANG'35003TP) $4.95. M2" factory' 

sealed disc (*ANG'35003) $5.95. 

Bartok’s fascinating Concerto for Orchestra now 
appears in its third LP version. We believe most of 
his followers will prefer this to either of the previous 
versions. It is the best reproduction, for those to 
whom that is a paramount factor. Von Karajan and 
the virtuoso Philharmonia Orchestra offer a perform' 
ance that is superior to any we ever recall hearing 
of this great work. 

The work is in five movements; it is similar to a 
symphony with two scherzos. Bartok admitted the 
dual nature, symphonic and concertante, of the 
piece: “The title of this symphonydike orchestral 

work is explained by its tendency to treat the single 
instruments or instrumental groups in a concertante 
or soloistic manner." He also said of the work gen' 
erally that its “general mood . . . represents, apart 
from the jesting second movement, a gradual transi' 
tion from the sterness of the first movement and the 
lugubrious death song of the third, to the life asser' 
tion of the last one." 

While the music is interesting in each movement, 
many persons are attracted to the last movement, 
which is built on a sort of moto perpetuo which is 
designed to display the virtuosity of the string sec' 
tion. A series of fanfare subjects offer contrast and 
a brilliant subject for trumpet and make this exciting 
music and a glorious finale. The Concerto for Or' 
chestra is probably destined to be Bartok’s most 
popular work, and will definitely find a place high 
on the list of contemporary works which will remain 
in the repertoire for many decades. It was commis' 
sioned by Serge Koussevitzky and composed in the 
autumn of 1943. S. 

Rimsky-Korsakov: Scheherazade, Op. 35. Orchestra 
of the Vienna State Opera conducted by Argeo 
Quadri. M2" disc (*WEST'WL'5234) $5.95. 

Rimsky-Korsakov: Scheherazade, Op. 35. Symphony 
Orchestra of Radio Berlin conducted by Karl 
Rucht. M2" disc (*UR'URRS'7'19) $3.50. 
These two Scheherazades are numbers fifteen and 
sixteen and this reviewer, in trying to recall different 
performances, recording techniques, etc., had a re' 
currence of a feeling he had as a small boy when 
he stayed on the merry'go'round too long. 

For a really lush version, particularly as regards 
recorded sound, the Westminster issue would be 
hard to beat although the earlier Mercury recording 
with Dorati was a stunning job. Quadri’s conception 
of the score is different from the usual in that he 
stresses the musical and poetic rather than the dra' 
matic and exotic elements of the work. This is most 
noticeable in the second section The Tale of the 
Prince Kalander. The overall effect, to one accus' 
tomed to the Stokowski or Ormandy treatment, will 
seem a little tame at first but it has a tendency to 
grow on one. 

Urania's bargain version is also an acceptable, if 
more conventional reading. The sound is quite good 
in spots, less satisfactory in others. As is most always 
the case, you get what you pay for — no more, no 

This reviewer would be hard put to choose be' 
tween the Quadri and Dorati discs either from the 
standpoint of recorded sound or interpretation. As 
to the other thirteen in the Schwann catalog, the 
only notable ones are those of Monteux, Stokowski 
and Ormandy and, of course, each of these will 
have its adherents. 

For those who do not have a copy of Rimsky' 
Korsakov's musical tale of oriental splendor and 
adventure, it is suggested they listen to the Dorati 



indicates LP 33 1/3 rpm. 
0 indicates 45 rpm. 

JANUARY "The Ntfw R ecords 


and Quadri recordings and forget the rest, unless 
price is an important factor, in which case, the 
Urania set is well worth investigating. There are 
notes with the Westminster release, none with the 
Urania. W. 

Glinka: Russian and Ludmilla — Suite. London 
Symphony Orchestra conducted by Anatole Fistou' 
lari. One side, and Berlioz: Les Troyens — Suite. 
Lamoureux Orchestra conducted by Jean Mar' 
tinon. M2" disc (*MGM'E'3053) $4.85. 
CONTENTS: Overture ; Oriental Dances (“Lesz' 
ghinka”); Fairy Dances; March of the Wizard (from 
“Russian and Ludmilla"). Overture; Royal Hunt 
and Storm; Ballet Music; Trojan March (from “Les 

Glinka: Russian and Ludmilla — Overture. And 
Borodin: On the Steppes of Central Asia. And 
Moussorgsky: Night on Bald Mountain. One 
side, and Prokofiev: Symphony No. 1 in D, Op. 

25 ( “Classical” ). L’Orchestre de la Societe des 
Concerts du Conservatoire de Paris conducted by 
Ernest Ansermet. M2" disc (*L'LL'864) $5.95. 

Prokofiev: Symphony No. 1 in D, Op. 25 (“Classi' 
cal”). And Dukas: L’Apprenti sorcier. One side, 
and Falla: El Sombrero de Tres Picos — Suite. 
And Ravel: La Valse. Philharmonia Orchestra 
conducted by Igor Markevitch. M2" disc (*ANG' 
35008TP) $4.95. M 2" factory'sealed disc 

(*AG'35008) $5.95. 

If ever one man could have been said to have 
influenced both Russian and French music, Berlioz 
is that man. He took two extended trips to Russia, 
the first in 1847 and the last in 1867. On both 
occasions he left an indelible impression on its 
musical life both with his music and his conducting, 
not to mention the decided impact made by his 
forceful but gentlemanly personality. 

It is entirely possible that Glinka, who was Ber' 
lioz’ exact contemporary, could have heard some 
of the 1847 concerts; thus the coupling of the MGM 
disc is a happy one. The music from Berlioz' Les 
Troyens is well played and fairly well recorded. 
Glinka's Russian and Ludmilla survives only because 
of its sparkling overture but, as this disc demon' 
strates, the rest of the score is on an equally high 
plane and is, consequently, most attractive. 

The real gem of the three records listed above, 
however, is the Ansermet on London. Here is a 
very clever and logically presented program of Rus' 
sian music. The Prokofiev work is a model of orches' 
tral playing and interpretation — it is puckish, grace' 
ful, and stylistically perfect. These same attributes 
are found in the other pieces on the obverse side. 
War horses all, but played and recorded in a manner 
that fairly takes one's breath away. 

There remains the Angel record. It also includes 
the Classical Symphony in a faster version, less 
carefully worked out but played with plenty of 

bravura. Its companion pieces are, in one writer’s 
opinion, less appropriate musically but more logical 
chronologically — take your choice. They are well, 
if not too spectacularly played. Unfortunately, some 
of them depend on sensational performances to make 
their effects! The Angel reproduction is good, ah 
though quite different from the London “close up” 
technique. This becomes a matter of personal taste 
so little or nothing need be said about it. There are 
notes, good ones, supplied with all except the $4.95 
Angel “Thrift Package.” W. 

Walton: Facade Suite. Philharmonia Orchestra con' 
ducted by Constant Lambert. One side, and Elgar: 
Wand of Youth Suite No. 1, Op. la. Liverpool 
Philharmonic Orchestra conducted by Sir Malcolm 
Sargent. M2" disc (*C'ML'4793) $5.95. 

Here are fine renditions of two works by English 
composers that are reasonably popular with Ameri' 
can audiences. There are other recordings of them 
in the LP catalogs, but because the present appro' 
priate coupling and merit of the performances we 
would highly recommend the Columbia disc listed 

Mozart: Symphony No. 39 in E-flat, K. 543. Lon' 
don Philharmonic Orchestra conducted by Felix 
Weingartner. One side, and Mozart: Serenade 
in G, K. 525 (“Eine kleine Nachtmusik”). Lon' 
don Symphony Orchestra conducted by Felix 
Weingartner (TNR Mar. ’41). And Haydn: 
"Toy” Symphony. British Symphony Orchestra 
conducted by Felix Weingartner. M2" disc 
(*C'ML'4776) $5.95. 

Brahms: Variations on a Theme by Haydn, Op. 

56a (“St. Antoni Chorale”). London Philhar' 
monic Orchestra conducted by Felix Weingartner. 
One side, and Bach: Suite No. 3 in D. L'Orches' 
tre de la Societe des Concerts du Conservatoire 
de Paris conducted by Felix Weingartner. M2" 
disc (*C'ML'4783) $5.95. (TNR Apr. ’39 6? 
Jan. ’41). 

Strauss: (4) Waltzes. Orchestras conducted by Felix 
Weingartner. M2" disc (*C'ML'4777) $5.95. 
CONTENTS: On the Beautiful Blue Danube 
(TNR Oct. ’38); 1001 Wights (TNR May ’39); 
Voices of Spring (TNR May ’39); Wine, Women 
and Song (TNR Oct. ’41). 

All of the above discs are reissues from 78 rpm 
records. The Mozart 39 th was issued in England, 
but never was issued in America; we should not 
choose it over Beecham’s fine version (*C'ML'4674). 
This disc will therefore appeal only to Weingartner 
fans. The same must also be said for *C'ML'4783; 
Toscanini has a better Haydn Variations (*V'LM' 
1725) and Reiner’s new recording of the four Bach 
Suites for Orchestra, reviewed in this issue, should 
leave little demand for an isolated recording of 
Suite Wo. 3. 

And, really, Columbia! Do you expect a body 

* Indicates LP S3 1/3 rpm. 
0 Indicates 46 rpm. 




The New Records 


to pay $5.95 for 13' to 15'year old recordings of 
Strauss Waltzes? 

Mozart: Symphony No. 35 in D, K. 385 (“HafL 
ner"). One side, and Mozart: Symphony No. 36 
in C, K. 425 (“Linz"). London Philharmonic 
Orchestra conducted by Sir Thomas Beecham. 
M2" disc (*OML'4770) $5.95. (TNR Apr. ’40 
6? Dec. '39). 

Haydn: Symphony No. 4 in D (“London"). One 
side, and Schubert: Symphony No. 5 in B-flat. 

London Philharmonic Orchestra conducted by Sir 
Thomas Beecham. LI 2" disc (*C'ML'4771) 
$5.95. (TNR July '40 6? June '39). 

Mozart: Symphony No. 34 in C, K. 338. One side, 
and Mozart: Symphony No. 29 in A, K. 201. 

London Philharmonic Orchestra conducted by Sir 
Thomas Beecham. LI 2" disc (*OML'4781) 
$5.95. (TNR July '44 & Aug. '38). 

We suppose that there are many admirers of Sir 
Thomas, who may have the above recordings on 
78 rpm, who would like to replace them with LP's 
for one reason or another. If so, they are now avail' 
able. We rather think that persons seeking record' 
ings of these works would prefer more modern re' 
production, although there's no denying that Beecham 
is certainly in his element in this music. 

We have but one quarrel with Columbia here. 
Sir Thomas is still living; and apparently Columbia 
can profitably issue new Beecham records at $5.95. 
Then why charge $5.95 for a reissue? We think 
that these discs should have been placed on the 
“Entre" series (at $2.98!). Our point is that if a 
1953 recording of Beecham is worth $5.95, then a 
1938 one, no matter how fine the performance, 
is not. 

Brahms: (7) Hungarian Dances. One side, and 
Dvorak: (4) Slavonic Dances. Hamburg Radio 
Symphony Orchestra conducted by Hans Schmidt' 
Isserstedt. L12" disc (*L'LL'779) $5.95. 
CONTENTS: Hungarian Dances 7<Los. 1 in G 
minor, 2 in D minor, 3 in F, 5 in F'sharp minor, 
6 in D'flat, 7 in A ,10 in F; Slavonic Dances Op. 
46, Hos. 1, 2, 3; Slavonic Dance Op. 72, K[o. 16. 
Brahms: (9) Hungarian Dances. Berlin Philhar' 
monic Orchestra conducted by Paul van Kempen. 
L10" disc (*D'DL'4078) $2.50. 

CONTENTS: Hungarian Dances 7<[os. 1 in G 
minor, 3 in F, 5 in G minor (trans. from F'sharp 
minor), 6 in D (trans. from D'flat), 17 in A (trans. 
from F'sharp minor), 18 in D, 19 in B minor, 20 
in E minor, 21 in E minor. 

If it is the Brahms Hungarian Dances you are 
interested in, we suggest that you choose the Decca 
recording. It may not be quite as good as the 
London version but the London recording is cer' 
tainly not worth twice the price. We are judging 
this pair of discs from an economical angle. 

Bach: (4) Suites for Orchestra. RCA Victor Or' 
chestra conducted by Fritz Reiner. 2' 12" discs in 
box (*V'LM'6012) $11.44. 

We cannot see how lovers of the immortal Johann 
Sebastian can help being mighty enthusiastic about 
this superb pair of discs. It makes a perfect package 
with one suite on each of the four sides of these 
LP records. Fritz Reiner has been afforded a fine 
orchestra, and with his genius for perfection he has 
spared no pains to produce renditions that call for 
the highest praise. 

We bespeak for this fine album your earnest 
consideration. Alfred Frankenstein has supplied a 
booklet of excellent and illuminating notes. 

Black Magic. Andre Kostelanetz and His Orchestra. 
LI 2" disc (*C'ML'4741) $5.95. 

CONTENTS : That Old Blac\ Magic; Mad About 
the Boy; Our Waltz; Little Girl Blue; Some Day; 
Out of This World; Easy To Love; Limehouse Blues. 

Kostelanetz has selected a group of popular songs 
that have stood the test of time and given them his 
magic touch on the present LP disc. His many 
admirers will certainly want to add this one to their 
collection of Kostelanetz recordings. 

Brahms: Concerto No. 1 in D minor, Op. 15. 

Clifford Curzon (piano) with the Concertgebouw 
Orchestra of Amsterdam conducted by Eduard 
van Beinum. L12" disc (*L'LL'850) $5.95. 

Beethoven: Concerto No. 4 in G, Op. 58. Artur 
Schnabel (piano) with the Philharmonia Orches' 
tra conducted by Issay Dobrowen. LI 2" disc 
(*V'LCT'1131) $5.72. (TNR Sept. '47). 

The Brahms first piano concerto has long been 
regarded as a forbidding piece of music; and in this 
performance, excellent though it is, this impression 
remains. The austerity of the work is not so much 
the result of inner discipline, one feels, as it is a 
plain lack of congeniality or absence of grace. Per' 
haps its hybrid conception (it was first conceived 
as a piano sonata then as a symphony) has some' 
thing to do with its angularity and essential barren' 
ness. The annotator of the jacket notes admits “(it) 
may be a difficult musical friend to win" and goes 
on to state that it is well worth the winning. This 
latter part of his statement may or may not be so. 

The performance is a sumptious one. Both van 
Beinum and Curzon are at concert pitch and the 
resultant sound, fervor and excitement have been 
superbly captured by London's engineers. It would 
be difficult to imagine a more stirring recording and 
admirers of this concerto n£ed look no further for 
the best presentation of the work on discs. 

The late Arthur Schnabel was famous for his 
Beethoven performances and this, redssue on an LP 
disc will gratify the many admirers of his art. The 



indicates LP 381/3 rpm. 
0 indicates 45 rpm. 


The R ecords 


Beethoven concerto needs no extended remarks here, 
nor does Schnabel’s playing. Both are familiar and 
it will suffice to say that in the transfer to LP the 
sound of the original 78's seems to improve in 
quality. The net result, however, is not as good as 
a modern, first class LP (such as the Westminster 
recording of the same work by Badura'Skoda) but 
neither does it make any undue demands on the 
listener’s aural charity. 

This reviewer was saddened to learn, a short while 
ago, of Issay Dobrowen’s untimely death. Thus the 
disc takes on an added melancholy, for Dobrowen 
was an excellent musician. His greatest recorded 
performance was, undoubtedly the magnificent Boris 
Godounov made only a year or so ago for HMV. 


Ravel: Concerto in G. Marguerite Long (piano) 
with l’Orchestre de la Societe des Concerts du 
Conservatoire de Paris conducted by Georges 
Tzipine. One side, and Faure: Ballade, Op. 19. 
Marguerite Long (piano) with l’Orchestre de la 
Societe des Concerts du Conservatoire de Paris 
conducted by Andre Cluytens. IT 2" disc (*ANG' 
35013TP) $4.95. M2" f actory'sealed disc 
(*ANG'35013) $5.95. 

Ravel: Concerto in D for the Left Hand Alone. 

One side, and Ravel: Concerto in G. Jacqueline 
Blancard (piano) with l’Orchestre de la Suisse 
Romande conducted by Ernest Ansermet. LI 2" 
disc (*L'LL'797) $5.95. 

The name of Mme. Long has long been associated 
with the music of Ravel and Faure; the Concerto 
in G is dedicated to her, and her performances are 
always considered authentic interpretations. This 
fact, along with the good reproduction Angel has 
supplied would seem to indicate that the Angel 
record would be the preferred disc. After hearing 
the Angel and the London discs, one is aware that 
the foregoing is altered by the presence of Ansermet, 
who conducts the orchestra on the London disc. 
Cluytens and Tzipine do fine work, but Ansermet 
is on another, and higher, plane entirely. We doubt 
that anyone has ever heard more superlative orches' 
tral performances of the Ravel scores than Ansermet 
turns in. His unique sense of dynamics and shadings 
of tone is applied with all the finesse at his com' 
mand, and they serve this music just perfectly. 
London has captured the delicacy of this exceptional 
music making in its best fashion, which reveals 
every nuance ever so beautifully. Jacqueline Blancard 
performs with an inspiration, at least some of which 
was radiated by the conductor. She is a fine pianist, 
and her readings contribute to the stature of this 

Ravel worked at both his piano concertos together. 
The one for two hands he regarded as a divertisse' 
ment, but then, as he tells us, it is in the Mozartean 
manner, if not in the idiom of the eighteenth cen' 
tury, and he decided that the word concerto was 

fittest to describe it. The concerto for left hand 
brought its own problems, mainly those of tone' 
weight. It was not Ravel’s purpose to show what the 
left hand can do so much as to prove what can be 
done for the left hand. Such technical tests were 
meat and drink to him and the result here is a 
triumph of technique. These illuminating facts are 
from the fine notes on the London jacket, written 
by H. G. Sear, which will aid your enjoyment of 
this great music. S. 

Beethoven: Concerto in D, Op. 61. Bronislaw 
Hubermann (violin) with the Vienna Philhar' 
monic Orchestra conducted by George Szell. IT 2" 
disc (*C'ML'4769) $5.95. 

Mendelssohn: Concerto in E minor, Op. 64. 

Joseph Szigeti (violin) with the London Phil' 
harmonic Orchestra conducted by Sir Thomas 
Beecham. 1T0" disc (*C'ML'2217) $4. (TNR 
Mar. ’34). 

Beethoven: Concerto in C, Op. 56 (“Triple”). 
Ricardo Odnoposoff (violin), Stefan Auber (vio' 
loncello) and Angelecia Morales (piano) with the 
Vienna Philharmonic Orchestra conducted by 
Felix Weingartner. 1T0" disc (*C'ML'2218) $4. 
(TNR June ’38). 

Three more reissues from 78’s this month, the 
Beethoven Concerto having been released only in 
England, never in U. S. A., previously. Hubermann 
is a pretty fine fiddler; but we see no particular need 
to b